r
LIBRARY
OF THE
PHILADELPHIA
MUSEUM
OF ART
THE ART OF THE
CHINESE POTTER
FRONTISPIECE
Vase with ovoid body moulded in ten lobes, tall slender
neck with flaring mouth, and low foot cut in a leaf and tongue
pattern. On the neck is a carved band of stiff leaves alter-
nately wide and narrow between wheel-made rings : three
concentric rings inside the mouth. Porcelain with thick, white
bubbly glaze with a faint tinge of blue which is accentuated
where the glaze runs thick in the hollows of the form. The
base is unglazed for the most part and discloses a biscuit of
rather granular type which has burnt a reddish brown : there
are the marks of a ring of supports. The form of this beautiful
vase was borrowed by the Corean potters for their celadon.
Ju type. Sung dynasty. H. 10".
In the possession of Mr. H. J. Oppenheim.
THE ART OF
THE CHINESE POTTER
from the HAN DYNASTY to the end of the MING
illustrated in a series of 192 examples
selected, described and with
an introduction
by
R. L, HOBSON
Keeper of the Department of Ceramics and
Ethnography, British Museum ;
Author of " Chinese Pottery & Porcelain," " The
Wares of the Ming Dynasty," etc., etc.,
&
A. L. HETHERINGTON
Author of "The Early Ceramic Wares of China,"
etc
MCMXXIII
NEW YORK: ALFRED A. KNOPF
PRINTED AND MADE IN GREAT BRITAIN
This edition is strictly limited to 1500
numbered copies, of which 500 are re-
served for the United States of America.
This is No. ?32
4 It?
PREFACE
Many students and collectors of Chinese pottery and porcelain
find greater help from examination of good illustrations of the wares
which delight them than they gain from reading detailed descrip-
tions. So far as the later wares of China are concerned, and by
that term we mean the examples produced after the close of the
Ming dynasty in the middle of the 17th century, several volumes
of plates have been produced. But apart from the illustrations
accompanying the descriptive accounts of the pre-Ming and Ming
wares, there is a dearth of informative reproductions of the work
of the earlier potters.
The object of this volume is to furnish the collector with a series
of representations of some of the finest examples which are known
to exist in this country. The description of each specimen has
been carefully made so that with the plate before him, the collector
may realise as far as possible the main characteristics exhibited by
it. Care has been taken to select examples which have not been
well illustrated in accessible works, for it is tiresome to be con-
fronted with notable pieces which are already familiar. But this
course has involved the exclusion of a number of magnificent
specimens which would naturally find a place in this volume.
On the other hand, there are fortunately in this country a number
of private collections of first-rate importance from which it has
been our privilege to draw. To all who have placed their cabinets
at our disposal we tender our sincerest thanks ; as the ownership
is indicated in each instance it is unnecessary to particularise
further the collections used.
The most famous album of fine examples of Chinese porcelain
was that compiled by Hsiang Yuan-p'ien in the 16th century. He
added to the interest of his specimens by describing in many cases
the circumstances under which he or his friends acquired them.
We have been tempted to do the same, for an account of some of
the adventures experienced by our friends in the pursuit and
capture of their treasures would be entertaining. But we have
refrained from doing so because we might deprive those collectors
of some of their best stories, and thereby return evil for good.
By way of introduction a short account is included of the main
features which mark the growth of the art of the Chinese potter
during the periods concerned, and a brief description is furnished
vi PREFACE
of some of the famous kilns which were operating at different times
in China. Any more detailed account of the wares would be out
of place, and for this other works should be consulted. At the
same time attention has been paid to certain recent theories which
have not as yet received public examination.
In a work of this description success mainly depends upon the
artistic appreciation and experience of those responsible for the
photography and colour guides from which the blocks are produced.
We desire to express our thanks to the artists for the care and skill
they so unremittingly bestowed upon the task.
R. L. H.
A. L. H.
June, 1923.
vi
LIST OF ILLUSTRATIONS
Ju type : lobed vase (Sung) (colour) . . Frontispiece
In the possession of Mr. H. J. Oppenheim
Han wine-jar (colour) Plate x
In the possession of Mr. O. C. Raphael
Han brick with stag relief piate 2
In the British Museum
Han well-head plate 3
In the possession of Mr. A. L. Hetherington
Han pricket candlestick ....'. Plate 4
In the possession of Mr. G. Eumorfopoulos
Vase with hunting scene in unfired pigments. 4th century Plate 5
In the British Museum
Wei figure of a woman ...... Plate 6
In the possession of Mr. G. Eumorfopoulos
Wei horseman ..... Fig. 1 Plate 7
In the possession of Mr. G. Eumorfopoulos
Stand with hydras. 3rd or 4th century . Fig. 2 Plate 7
In the possession of Mr. G. Eumorfopoulos
Tang figure of robed minister, unglazed . . . Plate 8
In the possession of Mr. G. Eumorfopoulos
Tang figure of seated lady, in coloured glazes . . Plate 9
In the possession of Mr. G. Eumorfopoulos
Tang camel with baggage, glazed (colour) . . Plate 10
In the possession of Mr. G. Eumorfopoulos
Tang lion with green splashed glaze (colour) . . Plate 11
In the possession of Mr. H. J. Oppenheim
Tang figure of actor, unglazed . . Fig. 1 Plate 12
In the British Museum
Tang figure of lady, unglazed . . Fig. 2 Plate 12
In the British Museum
Tang dish with blue glazed ground and crane design
(colour) piate I3
In the possession of Mr. G. Eumorfopoulos
Vll
LIST OF ILLUSTRATIONS
T'ang horse with trappings, unglazed . . . Plate 14
In the possession of Mr. F. N. Schiller
T'ang ewer with globular body and mottled glaze (colour) Plate 1 5
In the possession of Mr. G. Eumorfopoulos
T'ang rhyton ..... Fig. 1 Plate 16
In the possession of Mr. G. Eumorfopoulos
T'ang boar, proto-porcelain . . . Fig. 2 Plate 16
In the possession of Mr. G. Eumorfopoulos
T'ang figure of pedlar, unglazed .... Plate 17
In the possession of Mr. A. L. Hetherington
T'ang lion scratching his head . . Fig. 1 Plate 18
In the possession of Mr. C. Rutherston
T'ang duck with splashed glazes . . Fig. 2 Plate 18
In the possession of Mr. C. Rutherston
T'ang ewer with dragon handle .... Plate 19
In the possession of Mr. G. Eumorfopoulos
T'ang jar and cover with chevron design (colour) . Plate 20
In the possession of Mr. G. Eumorfopoulos
T'ang lobed vase with foliate mouth and iridescent
green glaze ....... Plate 21
In the possession of Mr. G. Eumorfopoulos
T'ang horse with blue splashed glaze (colour) . . Plate 22
In the possession of Mr. G. Eumorfopoulos
T'ang cup in form of a duck . . . Fig. 1 Plate 23
In the possession of Mr. G. Eumorfopoulos
T'ang quatrefoil dish with two fishes in bottom Fig. 2 Plate 23
In the possession of Mr. G. Eumorfopoulos
T'ang bottle-shaped vase with foliage scroll and green,
white, and yellow glazes (colour) . . . Plate 24
In the possession of Mr. G. Eumorfopoulos
T'ang porcelain bottle-shaped vase .... Plate 25
In the possession of the Misses Alexander
T'ang melon-shaped vase with aubergine glaze (colour)
Fig. 1 Plate 26
In the possession of Mr. A. L. Hetherington
viii
LIST OF ILLUSTRATIONS
T'ang ovoid vase with blue splashed glaze Fig. 2 Plate 26
In the Victoria and Albert Museum
T'ang vase with incised design and green and yellow
glazes . Plate 27
In the possession of Mr. G. Eumorfopoulos
T'ang vase with green dragon (colour) . . . Plate 28
In the possession of Mr. G. Eumorfopoulos
T'ang porcelain bottle with five lobes . Fig. 1 Plate 29
In the possession of the Misses Alexander
T'ang porcelain ewer with animal handle . Fig. 2 Plate 29
In the possession of Mr. F. N. Schiller
T'ang porcelain eight-ribbed vase . . Fig. 1 Plate 30
In the possession of Mr. F. N. Schiller
T'ang porcelain jar with white glaze . Fig. 2 Plate 30
In the possession of Mr. F. N. Schiller
T'ang vase with splashed glaze .... Plate 31
In the possession of Mr. G. Eumorfopoulos
Chun ware : jar with purplish splash (Sung or Yuan) Plate 32
In the possession of Mr. G. Eumorfopoulos
Chun ware : rectangular bulb-bowl (Sung) (colour)
In the possession of Mr. F. N. Schiller Fig* z
Chiin ware : circular bulb-bowl (Sung) . Fig. 2
In the possession of Mr. G. Eumorfopoulos
Bottom view of the bulb-bowl on Plate 33 (fig. 2)
Chiin ware : hexagonal flower-pot (Sung) (colour)
In the possession of Messrs. G., R. & C. Benson
Kuan ware : bowl with lavender- grey glaze (Sung)
In the possession of Mr. P. David Fig. 1
Ko type : vase in shape of bronze (Sung) Fig. 2
In the possession of Mr. G. Eumorfopoulos
Kuan ware : water-pot with purple splashes (Sung)
(colour) ........ Plate 37
In the possession of the Misses Alexander
ix
Plate
33
Plate
33
Plate
34
Plate
35
Plate
36
Plate
36
LIST OF ILLUSTRATIONS
Kuan ware : plate with purple splashes and suffusions
(Sung) (colour) Plate 38
In the possession of the Misses Alexander
" Soft Chun " vase (Yuan or early Ming) (colour) . Plate 39
In the possession of the Misses Alexander
" Soft Chun " double gourd vase with splash (Ming)
(colour) ........ Plate 40
In the possession of Mr. P. David
Chun ware : vase on three feet (Sung) (colour) Fig. 1 Plate 41
In the possession of Mr. H. J. Oppenheim
Chun ware : shallow bowl with purple splashes (Sung)
Fig. 2 Plate 41
In the possession of Mr. H. J. Oppenheim
Imperial vase with green glaze (^ Ming) (colour) . Plate 42
In the possession of Mr. F. N. Schiller
Kwangtung ware : vase with clair de lune glaze (Ming) Plate 43
In the possession of Mr. G. Eumorfopoulos
Ting ware : basin with incised decoration (Sung) . Plate 44
In the possession of the Misses Alexander
Ting ware : conical bowl with phoenixes in flowers
(Sung) Plate 45
In the possession of Mr. P. David
Ting ware : double gourd ewer with carved lotus leaf
design (Sung) ....... Plate 46
In the possession of Mr. G. Eumorfopoulos
Ting ware : dish with pair of ducks (Sung) . . Plate 47
In the possession of the Misses Alexander
Ting ware : vase with handles and incised decoration
(Sung) Plate 48
In the possession of Mr. G. Eumorfopoulos
Ting ware : dish with carved dragon design (Sung) . Plate 49
In the possession of the Misses Alexander
T'u ting ware : pilgrim bottle (Ming) . Fig. 1 Plate 50
In the possession of Mr. G. Eumorfopoulos
LIST OF ILLUSTRATIONS
T'u ting ware : quadrilateral vase with lid (Sung)
Fig. 2 Plate 50
In the possession of Mr. G. Eumorfopoulos
Ting ware : bowl with carved lotus design (two
positions) (Sung) (colour) Plate 51
In the possession of Mr. O. C. Raphael
Yung Lo bowl of egg-shell porcelain (early 15 th century)
Fig. 1 Plate 52
In the possession of Mr. G. Eumorfopoulos
Ting ware : bowl with carved peony decoration (Sung)
Fig. 2 Plate 52
In the possession of Mr. G. Eumorfopoulos
Ting type : ewer with spout issuing from dragon's
head (Sung or earlier) ..... Plate 53
In the possession of the Misses Alexander
Ting type : vase with carved peony design (Sung) . Plate 54
In the possession of Mr. F. N. Schiller
Ting type : beaker in form of a bronze (Sung) Fig. 1 Plate 55
In the possession of Mr. G. Eumorfopoulos
Ting type : incense bowl with handles (Ming) Fig. 2 Plate 55
In the possession of Mr. G. Eumorfopoulos
Ting type : vase with handles and foliate rim (S* Sung) Plate 56
In the possession of Mr. G. Eumorfopoulos
Ting type : vase with carved design (Ming) Fig. 1 Plate 57
In the possession of Mr. J. Baird
Ting type : box with engraved design (" soft paste ")
(Ming) Fig. 2 Plate 57
In the possession of Mr. F. N. Schiller
Ting type : " Kichownan " vase (Sung) . . , Plate 58
In the possession of Mr. F. N. Schiller
Ting type : " Kichownan " ewer (Sung or earlier) . Plate 59
In the possession of Mr. O. C. Raphael
Ting type : '* Kichownan " bowl with incised design
(Sung) Plate 60
In the possession of Mr. J. Baird
xi
LIST OF ILLUSTRATIONS
Ting type : " Kiangnan " vase with elephant masks
(15th century) ....... Plate 61
In the possession of Mr. V. Wether ed
" Black Ting " bowl on knob feet {< Sung) (colour) . Plate 62
In the possession of Mr. F. N. Schiller
Celadon funeral jar with dragon in relief (Sung) . Plate 63
In the possession of Mr. G. Eumorfopoulos
Celadon beaker in form of a bronze (Sung) (colour) . Plate 64
In the possession of Mr. P. David
Celadon bottle-shaped vase (Sung) . . Fig. 1 Plate 65
In the possession of Mr. P. David
Celadon box with lid (Sung) . . . Fig. 2 Plate 65
In the possession of Mr. H. J. Oppenheim
Celadon bowl with fluted sides (Sung) . Fig. 1 Plate 66
In the possession of Mr. P. David
Celadon flower-pot on three feet with relief ornaments
(Sung or Yuan) .... Fig. 2 Plate 66
In the possession of Mr. P. David
Celadon incense burner on three feet (Sung) (colour)
Fig. 1 Plate 67
In the possession of Mr. O. C. Raphael
Celadon incense burner with fish-dragon handles (Sung)
Fig. 2 Plate 67
In the possession of Mr. H. J. Oppenheim
Celadon potiche with figures and buildings in relief
(Ming) Plate 68
In the possession of Mr. G. Eumorfopoulos
Celadon dish with dragon design in relief (Sung or
Yuan) (colour) Plate 69
In the possession of Mr. F. N. Schiller
Celadon vase with ring handles (Ming) . Fig. 1 Plate 70
In the possession of Mr. H. B. Harris
Celadon bulb-bowl (16th century) . . Fig. 2 Plate 70
In the possession of Mr. G. Eumorfopoulos
xii
75
LIST OF ILLUSTRATIONS
Celadon vase with peony scroll in relief (15th century) Plate 71
In the possession of Mr. G. Eumorfopoulos
Spotted celadon bottle-shaped vase (Sung) (colour) . Plate 72
In the possession of Mr. G. Eumorfopoulos
Northern Chinese celadon vase with spouts (Sung) . Plate 73
In the possession of Mr. O. C. Raphael
Northern Chinese celadon ewer with carved foliage
design (Sung) plate ?4
In the possession of the Misses Alexander
Northern Chinese celadon incense vase in form of
duck on stand (Sung) . . . Fig. 1 Plate 75
In the possession of Mr. J. Baird
Northern Chinese celadon shallow bowl with carved
peony design (Sung) . . . Fig. 2 Plate
In the possession of Mr. A. L. Hetherington
Northern Chinese celadon bottle-shaped vase with
carved lotus scroll (Sung) (colour) . . . Plate 76
In the possession of Mr. G. Eumorfopoulos
Northern Chinese celadon vase with foliate rim and
carved foliage design (Sung) . . Fig. 1 Plate
In the possession of Mr. S. D. Winkworth
Northern Chinese celadon box with lid with peony scroll
design (Sung) Fig. 2 Plate
In the possession of Mr. P. David
Tz'u Chou ware : vase with floral design in black on
white ground (Sung) piate ?g
In the possession of the Misses Alexander
Tz'u Chou ware : vase with white slip and carved
design (Sung) (colour) piate ?9
In the possession of Mr. C. Rutherston
Tz'u Chou ware : figure of rabbit (Sung) Fig. 1 Plate 80
In the possession of Mr. G. Eumorfopoulos
Tz'u Chou ware : jar with carved foliage scroll (Sung)
Fig. 2 Plate 80
In the possession of Mr. G. Eumorfopoulos
77
77
xiu
LIST OF ILLUSTRATIONS
Tz'u Chou type : vase with lotus stalk handles (Ming) Plate 81
In the possession of Mr. F. N. Schiller
Tz'u. Chou ware : vase with painted phoenix design
(Sung) ........ Plate 82
In the possession of Mr. G. Eumorfopoulos
Tz'u. Chou type : vase with design of figures in black
under blue glaze (14th century) (colour) . . Plate 83
In the possession of Mr. G. Eumorfopoulos
Tz'u Chou ware : vase with foliate lip and floral
design (Sung) Plate 84
In the possession of Mr. G. Eumorfopoulos
Tz'u Chou type : vase with floral design in black
under green glaze (Sung) (colour) . . . Plate 85
In the possession of Mr. G. Eumorfopoulos
Tz'u Chou ware : vase with black glaze and bird
design in brown (Sung) ..... Plate 86
In the possession of Mr. J. Baird
Tz'u Chou type : vase with black glaze and ribbing
(Sung) Fig. 1 Plate 87
In the possession of Mr. G. Eumorfopoulos
Tz'u Chou ware : alms-bowl with engraved peony
design (Ming) Fig. 2 Plate 87
In the possession of Mr. F. N. Schiller
Tz'u Chou ware : globular vase with graffiato design
of flowers and birds (Yuan) .... Plate 88
In the possession of Mr. G. Eumorfopoulos
Tz'u Chou ware : potiche with carved design in black
glaze (Yuan) Plate 89
In the possession of Mr. G. Eumorfopoulos
Tz'u Chou ware : jar with handles and black glaze
(15th century) ....... Plate 90
In the possession of Mr. J. Baird
Tz'u Chou ware : potiche with painted figure design
in panels (Ming) ...... Plate 91
In the possession of the Misses Alexander
xiv
LIST OF ILLUSTRATIONS
Tz'u Chou type : bowl with enamelled ornament (Sung)
(two positions) (colour) ..... Plate 92
In the possession of Mr. O. C. Raphael
Ju type : bowl with carved design of archaic dragons
(Sung) ...... Fig. 1 Plate 93
In the possession of Mr. A. L. Hetherington
Ju type : conical bowl with foliate rim (Sung)
Fig. 2 Plate 93
In the possession of Mr. H. J. Oppenheim
Ju type : vase with carved floral design (Sung) (colour) Plate 94
In the possession of Mr. G. Eumorfopoulos
Ju type : bowl with two fish engraved in bottom (Sung)
(two positions) (colour) ..... Plate 95
In the possession of Mr. A. L. Hetherington
Ju type : vase in shape of a bronze (Sung) (colour) . Plate 96
In the possession of Mr. G. Eumorfopoulos
Ju type : wine ewer (Sung) ..... Plate 97
In the possession of Mr. J. Baird
Honan ware : conical bowl with olive-brown glaze
(Sung) Plate 98
In the possession of Mr. G. Eumorfopoulos
Honan ware : lobed jar with reddish brown glaze
(Sung) ...... Fig. 1 Plate 99
In the possession of Mr. G. Eumorfopoulos
Honan ware : bowl with rusty spots (Sung) Fig. 2 Plate 99
In the possession of Mr. G. Eumorfopoulos
Honan ware : bowl with chrysanthemum design (Sung)
(colour) Fig. 1 Plate 100
In the possession of Mr. G. Eumorfopoulos
Honan ware : bowl with tortoise-shell glaze (Sung)
Fig. 2 Plate 100
In the possession of Mr. G. Eumorfopoulos
Honan ware : bottle-shaped vase with design of ducks
and lotus (Sung) Plate 101
In the possession of Mr. G. Eumorfopoulos
xv
LIST OF ILLUSTRATIONS
" Chi-an Fu " ware : bowl with geometric design
(Sung) Fig. i Plate 102
In the possession of Mr. F. N. Schiller
" Chi-an Fu " ware : bowl with leaf design (Sung)
In the possession of Mr. F. N. Schiller Flg* 2 Plate I02
" Chi-an Fu " ware : bowl with design of plum
blossoms (Sung) (colour) . . . Fig. 1 Plate 103
In the possession of Mr. F. N. Schiller
" Chi-an Fu " ware : bowl with design of butterflies
and birds (Sung) .... Fig. 2 Plate 103
In the possession of Mr. F. N. Schiller
Ting type : figure of Tung-fang So (Ming) Fig. 1 Plate 104
In the possession of Mr. G. Eumorfopoulos
Fukien porcelain : figures of the Twin Genii (^ 17th
century) Fig. 2 Plate 104
In the possession of Mr. G. Eumorfopoulos
Fukien porcelain : figure of Kuan Ti (late Ming) ♦ Plate 105
In the possession of Mr. G. Eumorfopoulos
Fukien porcelain : figure of Kuan Yin (? 17th century) Plate 106
In the possession of Mr. G. Eumorfopoulos
Reticulated bowl with figures in biscuit relief (about
1600) ...... Fig. 1 Plate 107
In the possession of Mr. P. David
Fukien porcelain : incense bowl with lion masks (Ming)
In the possession of Mr. P. David Flg* 2 Plate I07
Tazza with three fish in copper-red (15th century)
(colour) ...... Fig. 1 Plate 108
In the possession of Mr. P. David
Dish with copper-red glaze (15 th century) . Fig. 2 Plate 108
In the British Museum
Pipe-shaped bottle with turquoise panels (15th century)
with a view of the bottom of same . . . Plate 109
In the possession of Mr. T. H. Green
xvi
LIST OF ILLUSTRATIONS
Vase with dark blue ground and design outlined with
threads of clay (15th century) (colour) . . Plate no
In the possession of Mr. H. J. Oppenheim
Reticulated potiche with Immortals (15th century) ♦ Plate in
In the possession of Mr. G. Eumorfopoulos
Baluster vase with green ground (15th century) (colour) Plate 112
In the possession of Mr. A. de Rothschild
Vase with baluster body and archaic dragon handles
(15th century) . ...... Plate 113
In the possession of Mr. R. H. Benson
White potiche with design of figures outlined in threads
of clay (15th century) Plate 114
In the possession of Mr. G. Eumorfopoulos
Potiche with Eight Immortals (15th century) (colour) . Plate 115
In the possession of Messrs. G., R. & C. Benson
Gourd-shaped and reticulated vase (15th century) . Plate 116
In the possession of Messrs. G., R. & C. Benson
Baluster vase with lotus design on turquoise ground
(15th century) (colour) ..... Plate 117
In the possession of Mr. T. H. Green
Figures of Liu Han and Shih-te (16th century) . . Plate 118
In the possession of Mr. A. de Rothschild
Barrel seat with lotus design (about 1500) (colour) . Plate 119
In the possession of Messrs. G., R. & C. Benson
Vase with lotus scrolls (early 16th century) . . Plate 120
In the possession of Mr. G. Eumorfopoulos
Figure of Shou Lao (about 1500) (colour) . . . Plate 121
In the possession of Mr. A. de Rothschild
Figure of Wen Ch'ang (16th century) . . . Plate 122
In the possession of Mr. A. de Rothschild
Double gourd vase with Taoist figures (about 1500)
(colour) Plate 123
In the possession of Mr. G. Eumorfopoulos
xvii B
LIST OF ILLUSTRATIONS
Lobed jar with design in copper-red (early 16th century) Plate 124
In the possession of Mr. G. Eumorfopoulos
Fish bowl with lotus scroll design ( 1 6th century) (colour) Plate 125
In the possession of Messrs. G., R. & C. Benson
Pipe-shaped bottle with lotus design in copper-red
(early 16th century) .... Fig. 1 Plate 126
In the possession of Mr. S. D. Winkworth
Bowl with lion design in enamels on the biscuit (16th
century) Fig. 2 Plate 126
In the possession of Mr. G. Eumorfopoulos
Baluster-shaped vase with chrysanthemum design
(16th century) (colour) ..... Plate 127
In the possession of Messrs. G., R. & C. Benson
Tantalus cup (16th century) . . . Fig. 1 Plate 128
In the possession of Mr. T. H. Green
Bowl with medallions containing figures (16th century)
Fig. 2 Plate 128
In the possession of Mr. G. Eumorfopoulos
Vase of beaker shape with aubergine ground (16th
century) (colour) ...... Plate 129
In the possession of Messrs. G., R. & C. Benson
Potiche with underglaze blue and overglaze red decora-
tion (early 16th century) (colour) . . . Plate 130
In the Victoria and Albert Museum
Figure of Kuan Yii (16th century) .... Plate 131
In the possession of Messrs. G., R. & C. Benson
Wine cup with design of fish (16th century) (colour)
Fig. 1 Plate 132
In the possession of Mr. G. Eumorfopoulos
Saucer with design of dragons (late 16th century) Fig. 2 Plate 132
In the possession of Mr. H. J. Oppenheim
Potiche with white slip design on blue ground (16th
century) ........ Plate 133
In the possession of Messrs. G., R. & C. Benson
xviii
LIST OF ILLUSTRATIONS
Ewer with decoration in enamels (16th century) (colour) Plate 134
In the possession of Mr. H. J. Oppenheim
Stem cup with Immortals (16th century) . Fig. 1 Plate 135
In the possession of Mr. H. J. Oppenheim
Box with green wave pattern (late 16th century) Fig. 2 Plate 135
In the possession of Mr. H. J. Oppenheim
Dish with dark blue glaze and etched design (16th
century) (colour) ...... Plate 136
In the Victoria and Albert Museum
Box with phoenix and stork in iron red (16th century)
Fig. 1 Plate 137
In the possession of Mr. H. J. Oppenheim
Saucer with dragons in aubergine on yellow ground
(about 1600) Fig. 2 Plate 137
In the possession of Mr. H. B. Harris
Wine cup with yellow glaze (two positions) (16th
century) (colour) .... Fig. 1 Plate 138
In the possession of The Honble. Mrs. Walter Levy.
Bowl with Eight Immortals in coloured enamels on
biscuit (16th century) . . . Fig. 2 Plate 138
In the possession of Mr. G. Eumorfopoulos
Box and cover, yellow and aubergine glazes (colour) Fig. 1 Plate 139
In the possession of Mr. F. N. Schiller
Incense burner with yellow glaze . . Fig. 2 Plate 139
In the possession of Mr. H. J. Oppenheim
Rouleau-shaped vase with floral scrollwork (late Ming) . Plate 140
In the possession of Messrs. G., R. & C. Benson
Blue and White vase with elephant handles (15th
century) Plate 141
In the possession of Mr. C. Russell
Blue and White cylindrical vase with line drawing
(15th century) . Plate 142
In the possession of Mr. G. Eumorfopoulos
xix
LIST OF ILLUSTRATIONS
Blue and White bowl with figures (two positions)
(15th century) Plate 143
In the possession of Mr. G. Eumorfopoulos
Blue and White baluster vase (15th century) . . Plate 144
In the possession of Mr. T. H. Green
Blue and White jar with landscape design (about 1500) Plate 145
In the possession of Mr. G. Eumorfopoulos
Blue and White six-foil box (15th century) Fig. 1 Plate 146
In the possession of Mr. H. J. Oppenheim
Blue and White octagonal box (16th century) Fig. 2 Plate 146
In the possession of Mr. G. Eumorfopoulos
Blue and White potiche with peacocks and peonies
(about 1500) Plate 147
In the possession of Mr. C. Russell
Blue and White potiche with design of children (16th
century) (colour) Plate 148
In the possession of Mr. S. D. Winkworth
Leaf-shaped cup (15th century) . . Fig. 1 Plate 149
In the possession of Mr. G. Eumorfopoulos
Blue and White peach-shaped wine-pot (16th century)
In the possession of Mr. T. H. Green Flg* 2 Plate I49
Blue and White plate with Arabic inscription (early
1 6th century) ....... Plate 150
In the possession of Mr. G. Eumorfopoulos
Blue and White vase with handles (early 16th century) Plate 151
In the possession of Mr. H. J. Oppenheim
Dish with figures and gourd- vine border (about 1600). Plate 152
In the possession of Mr. H. B. Harris
xx
AN INTRODUCTION
AN INTRODUCTION
There is only one manufactured material which has been identi-
fied so closely with a nation in the eyes of the English-speaking
races that the name applied to it is that of the country of its origin.
China is the name given not only to that vast empire of the East
inhabited by the Chinese, but to the product for which that empire
is most famous in Western estimation. The children of this
country become familiar with the word china as signifying the cup
or plate from which they eat long before they learn that there is a
country of that name.
China is the term used popularly to denote pottery, earthenware,
and porcelain ; and vessels were made from all these materials by
the Chinese in different ages.
But while the Chinese have been regarded as the master potters
of the world, and their art has been the inspiration of their fellow-
craftsmen elsewhere, it is interesting to note that their skill was
obtained comparatively late in the world's history. Egypt, Persia,
and Greece were certainly in the field before the Chinese, who
derived much of their knowledge, especially in regard to glazes,
from contact with the West. The patience and industry for which
they are noted soon placed the Chinese ahead of all their rivals,
and their supremacy was hardly challenged before the 19th century.
Prior to the 2nd century before the Christian era, the potter's
art in China was limited to fashioning vessels of utility in pottery,
and it is generally believed that glaze was first employed during
the Han dynasty (b.c. 206-221 A.D.). Recently1 some criticism of
this theory has been put forward, and the counter-suggestion has
been made that the introduction of glaze dates from about the 5th
or 6th centuries.
This is not an appropriate occasion to enter upon a full discussion
of the arguments advanced which in any case are of a negative
character. It is sufficient to say that they have not shaken our
faith in the Han attribution of the earliest lead-glazed wares. The
reference made below to the finds at Samarra of fine porcelain
with high-fired felspathic glazes affords definite proof of the exist-
ence of wares of this kind as export products in the T'ang dynasty.
Before examples could have been available for export to Mesopo-
tamia, manufacture on an extensive scale and for a considerable
1 Chinesische Friihkeramik, by Dr. O. Riicker Emden.
3
THE ART OF THE CHINESE POTTER
time must have been proceeding in China ; and it is not unreason-
able to assume that true porcelain was being made in the early
part of the T'ang dynasty.
By post-dating the earliest examples of lead glazes on pottery
bodies to a period shortly before the establishment of the T'ang
dynasty we would have to accept the idea of a very rapid develop-
ment of potting technique within a short space of time. It is
difficult to believe this to have been possible, having regard to the
scientific knowledge possessed in China at that period.
But the Han potter made no very ambitious attempts at artistic
productions, although, as we hold, he knew how to glaze his
vessels. The pottery was utilitarian, and the specimens with which
we are familiar are those made for burial with the dead. It was a
custom in China to put into the tomb replicas of vessels and objects
used in everyday life for the service of the dead in a better land.
Thus we find models of farmyards, granary towers, well-heads,
and cooking stoves, as well as jars, ewers, dishes, and cups from
which the spirits of the departed might eat and drink. Plate I
shows a fine example of a typical Han wine-jar, and Plate III a
model of a well-head. The decomposition of the glaze on these
wares has given an adventitious beauty to them ; the lead silicate
glazes have become iridescent, and a beautiful silvery sheen is
generally seen on part or the whole of the object.
The next great epoch in Chinese history was the T'ang dynasty
(618-906 a.d.), and by this time ceramic art had reached a very
high standard of excellence. Further evidence of contact with the
West is seen in the models of men and animals made in pottery at
that time. The fine figures of Bactrian horses and camels show
how these animals had become common objects in China by
importation, and many of the human figures indicate types of
faces which are certainly not Chinese. Plates X, XIV, and XVII
illustrate these facts.
It is natural, too, that Buddhist influence should be seen in many
of the figures dating from the T'ang dynasty. Introduced into
China perhaps as early as the 1st century a.d., Buddhism occupied
varying degrees of importance in the life of the people ; different
ruling houses adopted attitudes of friendliness or opposition to its
tenets, but the religion never took deep root in the life of the
people. In later times it became very depraved. But still Buddhism
AN INTRODUCTION
has exercised a decided influence on the ceramic art of the early
potters, and evidence of its power is seen in the figures of the
Lokapala or Guardians of the Four Quarters found in the grave
equipment of T'ang notables. Figures of Lohan or apostles of
Buddha are to be found dating from the same period, and the
great Lohan in the British Museum is a very fine example not
only of the magnificent potting of the period but of Buddhistic
art. Plates VIII and IX represent further specimens of the
figures of this epoch.
But the T'ang potters by no means confined their attention to
the production of pottery figures. While the collector will most
frequently meet with these, he will find, if he is fortunate, beautiful
vases, ewers, bowls, and dishes, all of which show much distinction
and many evidences of Western influence. In their execution the
potter employed a wide range of technique. Skilful use of slips1 of
different colours was made, and these were contrasted with the
bodies on which they were superimposed. At the same time bold
designs, generally of a floral character, were executed by incising
the paste with a sharp point.
Simpler effects were created in the wine-jars and vases which
owe their beauty to their graceful shapes and to the single coloured
glazes washed over them. These glazes — generally soft lead-
silicate glazes — are thin in their application and hardly ever con-
tinue to the base of the vessel, stopping short of the foot in an
uneven line.
It must not, however, be overlooked that although the soft lead-
silicate glazes predominate in the T'ang wares, high-fired felspathic
glazes were also in use. The view has long been held that the
T'ang potter probably was master of the secret of the manufacture
of true porcelain ; but there was no definite proof available until
the recent excavations2 at Samarra on the Tigris established the
fact. This town flourished between 830-883 A.D., and in its buried
remains fragments of Chinese porcelain with high-fired felspathic
glazes have been found. The finds included both white glazed
specimens and fragments of celadon ware, showing that in the
second half of the T'ang dynasty the Chinese potter had reached
1 Slip is the term used to denote a liquid clay mixture.
2 See Sarre, Die Kleinfunde von Samarra, Der Islam, Zeitschrift fur Geschichte und
Kultur des Islamischen Orients. Band V, heft 2/3:
5
THE ART OF THE CHINESE POTTER
a degree of certainty in his production of true porcelain sufficient
to ensure an export trade as far afield as Mesopotamia. The white
wares are very similar to the Ting yao and allied wares of the Sung
dynasty ; while the celadons are like those known as " Northern
Chinese." Plates XXIX and XXX show examples of early white
ware possessing characteristics similar to the Samarra fragments
with their gummy white glaze.
Usually, however, the T'ang body is of a white pipe-clay consist-
ency, but is sometimes hard enough to resist the knife.
During the last few years increasing evidence of the maturity of
the potter's art in the T'ang dynasty has been forthcoming.
Though the sensuous appeal of some of the later Sung glazes is
lacking, the T'ang pottery excels in graceful outlines and nobility
of form. There is nothing small about the T'ang ceramic art, and
as knowledge of this period grows we shall doubtless have greater
reason to admire and appreciate it.
Apparently ceramic factories existed up and down the length and
breadth of China wherever suitable clay deposits occurred, but
our knowledge to date does not permit us to identify the wares
made at the few factories which we know to have been operative
at the period ; still less can we differentiate the productions of
the many minor centres of which history has told us nothing.
Thus it is that we have to rest content at present with
assigning wares to such an extensive period of time as the 7th to
the 10th centuries, with no attempt at all at saying whether par-
ticular specimens were made in the north, south, east, or west. To
the archaeologist this is vexing no doubt, and will have to be
remedied by scientific excavation, but to the art lover it is sufficient
to see and admire such fine productions, for instance, as those
represented on Plates IX, XIX, and XXI. The men who made
the objects there depicted had nothing to learn, so far, at all events,
as artistic sense is concerned.
In the Sung dynasty (960-1279 A.D.) further developments were
made. Greater refinement of the materials used for the body of
the ware became general, and a wide range of glaze colours was
developed. The lead-silicate glazes were abandoned generally in
favour of the high-fired felspathic glazes which could be applied
much more thickly ; as a consequence a depth of glaze and a
heightened colour effect were achieved. These thick glazes are
6
AN INTRODUCTION
fairly typical of the Sung period, though we shall have occasion to
note one or two instances in which these felspathic glazes are thinly
applied. Simple shapes continued to be fashioned as a rule, but
the style and technique of the decoration was more ambitious.
With few exceptions the glazes of the period are monochrome.
We have much more knowledge of the factories operating during
the Sung period than we have of the Tang centres of production,
and a brief account of the principal ones will help to explain the
many examples of Sung workmanship displayed in this album.
One of the most striking of the Sung wares is the Chun yao made
at Chun Chou in the province of Honan. While the ancient
Chinese writers do not speak in high terms of the products of this
centre and give them but slight commendation compared with the
eulogies showered upon certain other contemporary wares de-
scribed below, fine specimens command considerable attention
to-day and are much sought after by present-day connoisseurs
both in the East and the West. The body varies from a hard
porcellanous stoneware to a softer and more sandy type ; the two
varieties are distinguished by the Chinese by the terms tz'u t'ai
(porcelain body) and sha t'ai (sandy body) respectively.
The glaze is thick and felspathic, showing as a rule a bluish tone
which is due to opalescence. In the ** soft " Chiins, the sha t'ai of
the Chinese, the blue is generally more pronounced and the colour
is due to copper. In many of the most striking specimens there
are one or more splashes of red or purple, and in rarer cases
splashes of green or green bordered with red. The red colour is
also due to copper, but in a different condition.
The vessels of this factory which are usually met with are bowls,
globular vases, or saucers. These were no doubt made for utili-
tarian purposes. At the date of manufacture this ware was evidently
not held in high esteem, and was not adapted to the delicate and
dainty forms required by the scholar and art connoisseur.
A more gorgeous glaze achieved by the Chun Chou factories is
that generally displayed on bulb-bowls and flower-pots which
were probably supplied for Imperial use. The colour varies from
a series of greys through deep purples to a crushed strawberry red.
Inside the bowls the glaze is either a blue colour or clair de lune.
Pieces of this description which belong to the porcellanous stone-
ware group usually have numerals, i-io, incised on their bases,
THE ART OF THE CHINESE POTTER
apparently to denote their size. The bases of the vessels are
generally washed over with brownish green glaze, and on the cir-
cumference of the base will be found a circle of spur marks where
the vessels rested on clay " spurs " during the firing.
A characteristic of this type of Chun ware, to which importance
is attached by collectors, is the presence of marks in the glaze
which look like shaky V's or Y's ; these are known by the Chinese
as " earthworm " marks from their resemblance to the tracks of
tiny worms.
Important examples of these different varieties of Chun yao will
be seen on Plates XXXIII, XXXV, and XLI, and Plate XXXIV
shows the bottom of a bulb-bowl with its potting characteristics.
In the Yuan dynasty and in the Ming dynasty the traditions were
continued, though in the latter period the town was called Yu
Chou instead of Chun Chou. In the Yuan dynasty a less gorgeous
type of glaze appears to have been made, and the wares generally
are of a rougher order ; the distinction is sufficiently marked for
the term Yuan tz'u to be applied to the Mongol products. In the
Ming dynasty the ware appears to have gone out of fashion, and the
number of accredited specimens of that period is limited, according
to present knowledge.
Closely allied to the Chun yao is a more refined ware called Kuan
yao. Kuan means Imperial or official, and is the term applied to
the products of the Imperial factories established first at K'ai-
feng Fu in Honan, and later on to those of the Imperially supported
kilns at Hang Chou after the transfer of the Sung court to the
South. Of this ware the early Chinese writers speak in eulogistic
terms, but beyond displaying finer technique both in body and
glaze, it presents features very similar to those of the better examples
of Chun yao, in fact it is difficult to say where the Chun succession
ends and the Kuan family begins. Specimens of what may be
ascribed to the Imperial potters of Kai-feng Fu or Hang Chou
are illustrated on Plates XXXVII and XXXVIII.
While the Kuan yao may perhaps be regarded as the aristocratic
members of the Chun family, there are relatives of less distinguished
appearance. We refer to the rather similar kind of ware produced
at factories in Kwangtung in the neighbourhood of Canton and
that made in the Ming period and later at Yi-hsing, a town not far
removed from Shanghai.
8
AN INTRODUCTION
Round Canton, glazed stoneware has been made from very early
times, but it was probably during the latter part of the Ming dynasty
and after that most of the Kwangtung ware which we see was made.
The most common type of glaze met with is a dark blue or purple
one with white opalescence variegating it, but there are specimens
with a greyish colour which approximates fairly closely to some of
the Chun effects. The body is a good deal darker in colour, so
that no great difficulty should be experienced in detecting these
Southern products.
The Yi-hsing wares are potted on a hard reddish stoneware body
and some of the variegated glaze effects are pleasing ; the glaze
generally is a soft one which does not bind too well with the body
and consequently shows signs of chipping off.
In marked contrast to the gaily coloured Chun wares is the white
simplicity of the Ting yao. This ware was made at Ting Chou in
the province of Chihli during the early part of the Sung dynasty ;
but after the incursions of the Chin Tartars had forced the Sung
emperor to retreat south of the Yangtze to set up his capital at
Hang Chou, the Ting Chou potters migrated south also and the
majority of them appear to have established themselves at or near
Ching-te" Chen which was later to become the ceramic metropolis
of the Empire. But no doubt many of these potters, and those from
subsidiary factories employing the same kind of technique, moved
to other centres.
In any case, we know of a wide series of wares closely related to
the Ting yao proper, but showing differences which point to several
centres of origin. The difficulty of distinguishing the ware made
in the north at Ting Chou and that produced in the south later
was one which puzzled the ancient connoisseur, for we are told
that those who can distinguish between the two " have no reason
for shame."
The Ting ware consists of a fine white body with an orange or
reddish translucency when potted thinly enough to allow light to
pass through it. The glaze is a creamy or ivory white. Incised or
moulded designs often ornament the plates and bowls which
constitute the majority of specimens seen to-day, and the drawing
is distinguished by its boldness and its artistic feeling.
The Ting ware is divided into three classes, the white Ting or
pai ting, the flour- coloured Ting or fen ting, and the earthy Ting
9
THE ART OF THE CHINESE POTTER
or t'u ting. The first named is the rarest and is the most lustrous
in its glaze. The last named is found in a greater variety of shapes,
but the quality of its creamy crackled glaze is inferior, and trans-
lucency is rarely observed in the body.
One of the characteristics which has for centuries been associated
with the Ting ware is the presence of " tear drops " in the glaze.
These marks are due to local aggregations of the glaze where it has
been arrested in its flow over the surface of the vessel. Pieces
were often, but not invariably, fired on their mouth-rims which are
frequently found bound in copper to hide the unglazed portion.
There are numerous Sung specimens of the Ting type which do
not conform with the general features displayed by the Ting yao
proper, and with present knowledge it is impossible to classify
these more narrowly. Probably there was a number of factories
employing similar technique, especially during the latter part of the
Sung dynasty, after the main centre at Ting Chou became dis-
organised. One of the allied classes of white ware has been called
Kiangnan Ting, which implies that it was produced at factories in
Kiangnan, i.e. in the two provinces of Kiangsu and Anhwei. The
features of this type of ware are a creamy glaze and a close crackle.
The effect has not inappropriately been likened to pigskin or to an
ostrich's egg.
The Ting glaze effect is also obtained by placing on the body a
thin white slip and superimposing upon that a transparent film of
glaze. The result is to produce a fine white surface with a " soft-
ness " very similar to that exhibited by the Ting glaze. Many of
the specimens so glazed probably come from the factories of Tz'u
Chou which will be mentioned later, and of other districts in
southern Chihli.1
During the Ming dynasty the traditions were continued, but the
body of the ware was made of finer porcelain, and a more " glassy "
surface is found. Many of the Ming reproductions, however, are
very hard indeed to distinguish from Sung specimens, especially
the imitative wares made towards the end of the Ming dynasty in
the reigns of Chia Ching and Wan Li.
In the estimation of a very large number of collectors the early
celadons hold the highest place. The green, blue-green, and
green-grey tones displayed by the celadon wares never weary the
1 Kuliihsien and Kichownan have been named in this connection.
10
AN INTRODUCTION
eye and always harmonise with an artistic colour-scheme. Hence
their universal popularity not only to-day, but in bygone ages ;
specimens of celadon ware have been found in all parts of the world
— Java, Sumatra, the Philippines, Borneo, India, Persia, Arabia,
Egypt, and Zanzibar.
In Sung days the most important centre of celadon production
was a place called Lung Ch'uan, in the province of Chekiang,
where there were two brothers by name Chang. The elder brother
potted vessels the glaze of which was crackled and which go by
the name of Ko ware ; accredited specimens of this ware are
scarce. But specimens of the art of the younger brother and of
his school are not difficult to find ; we know of a number of wasters
dug up on the old kiln-site which enable us to recognise the ancient
descriptions recorded in Chinese literature.
The body is a grey porcellanous material which often exhibits a
red colour at the foot-rim where it has been exposed to the fire.
The glaze varies in colour from a definite green through shades
of blue-green to a dove-like grey ; in all cases there is a softness
of colour due to the fact that the glaze is not transparent. In the
later Ming celadons a more " glassy " appearance is noticeable
though the same range of colour tones is found.
The most prized celadon colour is an opaque blue- green or blue-
grey which sometimes goes by the name Kinuta, a term applied to
it by the Japanese and derived from a famous mallet-shaped1 vase
with a glaze of this colour.
Some of the most beautiful of the Sung specimens owe their
charm entirely to shape and glaze effect, but others are decorated
by ornament in relief or by incised designs.
A curious effect is found in the so-called tobi seiji, or spotted
celadon, where irregular blotches of dark brown are set in the
green glaze. A fine example is seen on Plate LXXII.
The celadons which have been found the world over usually
consist of heavy plates and dishes or large vases and bowls ; these
went in former days by the title martabani ware. The name is
derived from the Gulf of Martaban on the shores of which lies the
town of Moulmein in Burma. The ware was largely re-exported
from this centre. In India these heavy plates are often called
ghori ware ; a name derived from the town of Ghoor on the Persian-
1 Kinuta means mallet or hammer*
II
THE ART OF THE CHINESE POTTER
Afghanistan frontier, and the seat of government of the Ghori
Emperors of India. They are also called poison plates, from the
tradition that they possessed the property of neutralising the effect,
or disclosing the presence, of any poison that might be contained
in food placed on them.
A great many of these heavy celadon dishes and plates date from
Yuan and Ming times when world trade with China was widely
developed. A characteristic feature is the broad unglazed ring,
often red in colour, found on the bottom of the dish marking the
place where the specimen was supported during firing.
A branch of the celadon family is found in the family called
" Northern Chinese," a term embracing a group of wares the
precise provenance of which is not at present known. The colour
of the glaze is an olive green of different shades, and the ware is
usually distinguished by a dark brown body and bold incised
decoration. Wares of this type were made as early as the 9th
century as has been noted on a previous page.
Perhaps the ceramic factory with the longest continuous history
in the world is that of Tz'u Chou in Chihli. Crockery Town, to
give an English rendering of the Chinese name, is said to have
commenced its ceramic existence in the Sui dynasty (589-618 A.D.),
and it is still a flourishing manufacturing centre ; thirteen hundred
years is a span of time of no mean order, a record in comparison
with which only Ching-te Chen can compete ; and the wares
produced from its kilns appear to have been of a similar character
throughout its life.
We have no definite examples of pre- Sung date to which we can
point, but specimens of Sung origin are easily found. The body
is a grey stoneware tending towards a reddish brown colour, and
the glaze varies in colour from white to black. The commonest
examples are dishes, vases, and jars covered with a white or creamy
glaze on which bold designs are painted in brown or black. The
white glaze effect is achieved by means of a white slip with a
transparent glaze superimposed. Another variety consists of black
glaze with or without a design in brown upon it. This black glaze
may or may not exhibit " hares fur " markings which are such a
feature in the temmoku glazes described later.
The Tz'u. Chou potter varied his effects by means of an incising
tool, and we often find specimens in which the unfired glaze has
12
AN INTRODUCTION
been removed to form the design so that on firing the latter stands
out as a bold relief on the exposed biscuit. In the white glazed
pieces the slip may be etched away in a similar fashion so that the
body shows below the transparent glaze in parts and the white slip
elsewhere forms the design.
Though black and white, or brown and white, decorations are the
usual embellishments of the Tz'u Chou ware, they are not the only
ones. Painted designs in red and green upon a white ground are
also found on ware resembling that of Tz'u Chou, and they con-
stitute one of the few manifestations of polychrome decoration in
the Sung dynasty.
Allied to the Tz'u Chou ware, but probably executed at some
other centre, are specimens with a reddish stoneware body and with
painted or incised designs covered with a transparent blue or green
glaze. The technique is so like that employed at Tz'u Chou that
these wares have been included in the Tz'u Chou family.
In the Ming dynasty the ware was similar and it is difficult to
distinguish between Sung and Ming specimens, except perhaps
in the type of design and the freedom with which it is executed.
The post-Ming examples show considerable falling off in artistic
qualities.
The wide range of technique employed at this centre and other
allied factories is well displayed in Plates LXXVIII to XCII
Our next group of wares, though a comparatively new one in the
experience of collectors, is perhaps the choicest of all the Sung
porcelains. Very little has been written about them hitherto, and
specimens have been hard to come by until recently ; even now
they are difficult to obtain. The opening of tombs in Honan has
brought to light a certain number of buried specimens, and these
have whetted the collector's appetite for more.
The ware goes by the name of ying ch'ing yao which signifies a
porcelain with a shadowy or misty blue glaze. The body is highly
translucent in thinly potted examples and has a white sugary
appearance. In other specimens the body, though made of similar
porcelain, is much thicker and does not transmit light. The colour
of the glaze varies from a white with a suspicion of blue in it to a
pronounced light blue. The frontispiece to this album represents
a choice example, and Plates XCIII to XCVII display other
specimens.
13 c
THE ART OF THE CHINESE POTTER
When this ware first came to this country many years ago it was
reported to have been found in Corea. The more recent specimens
have been derived from Honan tombs. This latter origin is
interesting because some colour is given thereby to the surmise1
that these specimens may represent a type of Ju ware.
Ju yao has always been spoken of in Chinese ceramic literature
as one of the most famous productions of the Sung potters. Made
at Ju Chou in Honan it ranks only second to the celebrated Ch'ai
ware of which no authenticated specimen is known to exist. On
these two types of porcelain the full battery of extravagant descrip-
tion and praise has been turned by the Chinese writers, and the
literature teems with encomiums of them. " Blue as the sky after
rain, clear as a mirror, thin as paper, resonant as a musical stone of
jade," and phrases of this order are the tribute paid by the ancient
connoisseurs. We are told that a similar type of ware was made
in the districts of T'ang, Teng, and Yao, on the north of the Yellow
River, and there is no doubt that the minor Honan factories were
employed on producing porcelain similar in character to that of
Ju Chou. Further, a writer in 1125 speaks of certain Corean wares
as being like the " new wares of Ju Chou." These statements
support the view that the recent specimens found both in Honan
and Corea may be of the Ju type, though it would be rash to
ascribe any of them definitely to the potters of the famous Ju
factory in the absence of kiln-site evidence. In support of the
theory that this ware is of the Ju type it may confidently be stated
that the porcelain of which it is made is of finer quality and more
delicately potted than any other of the Sung wares ; the incised
designs which appear on some of the specimens are of a high order,
and the general appearance of the best examples accords in large
measure to the literary descriptions of Ju yao.
In marked contrast to the delicate potting of these porcelains is
the heavy stoneware represented by the Chien yao, which is held in
high esteem both in Japan and among Western collectors. The
centre at which it was manufactured is Chien-yang in the province
of Fukien. The body is heavy and black, and turns a rusty colour
where exposed to the fire. The glaze is a lustrous black flecked
1 The argument briefly set out here has recently been explored at length by
Mr. G. Eumorfopoulos in a paper read before an Oriental Ceramic Society which
is being published in its Transactions.
14
AN INTRODUCTION
with golden brown ; the terms " hare's fur " or " partridge mark-
ings " are given to these brown splashes from their similarity to the
mottling of the tegument of these animals. The glaze is thick and
terminates in heavy rolls or large drops short of the foot of the
vessels, which almost invariably take the form of bowls. These
bowls were used in the tea contests and tea ceremonies that had a
great vogue in China in the past and still have in Japan to the
present day.
The same kind of glaze was used at other factory centres upon a
lighter coloured body ; many examples can be found which appear
to have been potted at Tz'u Chou, and no doubt many of the
Honan factories made similar glazes.
The golden brown markings take several forms, being widely
spaced or more closely aggregated ; while in some cases the whole
surface of the glaze may be red-brown. In other instances the
black glaze may have silvery drops on it resembling oil spots, and
this effect is prized in Japan.
There is a third type1 of temmoku bowl of which examples may
be seen on Plates CII and CIII. The body is yellowish in colour,
and the designs drawn in the glaze are of a fairly elaborate nature,
birds, insects, and floral figuring being executed in a glaze of
different composition from that surrounding the design.
The name temmoku (t'ien mu, or Eye of Heaven) was first given
to a bowl, probably of Fukien origin, brought to Japan during the
Sung period by a Zen priest from the Zen temple on the T'ien mu
shan (Eye of Heaven mountain) in the north-west of Chekiang.
In later times the generic name of temmoku came to be applied to
the whole category of wares of this type.
In the foregoing brief review of the wares made at the main centres
of production during the Sung dynasty, we have drawn attention
to the development of a finer type of body than that used in earlier
periods. It is conceivable that the felspathic glazes then employed,
requiring as they do a higher temperature for their manipulation
and development, led to the further porcelainisation of the body
and prepared the way for the still finer bodies employed in the Ming
and later periods. If this be generally true, it must be remarked
that the ying ch'ing ware exhibits a body which, in some examples,
1 The ware is reported to have been made in the region of Chi-an Fu in
Kiangsi.
J5
THE ART OF THE CHINESE POTTER
is as fine as any subsequently achieved by the Chinese potter, and
that a good white porcelain was already made in the T'ang period.
The glaze effects of the Sung potter show a marked advance on
those of his predecessors and exhibit a considerable mastery of
technique. But it is probably in his artistic sense that the Sung
potter chiefly excelled. Both in the simple shapes he used and in
the designs he executed there is a subtlety which is generally lacking
in the art of his successor. The shapes may be heavily fashioned,
they may be simplicity itself, but it is rare indeed to find an example
of Sung workmanship that does not make some appeal to our senses.
The drawing on the vessels whether executed by an incising tool,
or by relief ornament or by bold washes of glaze colours, is invari-
ably distinguished in character. It was the result of a relatively
few strokes, as a rule, and the design is always in keeping with the
vessel on which it is portrayed. With the growth of knowledge,
elaboration of technique was exhibited later, and science to-day
may be able to repeat the glaze effects of Sung times ; but where
the modern craftsman will fail is in the reproduction of the Sung
drawing, unless considerable advances are made in artistic feeling
in modern ceramic work.
The ideals of the Sung dynasty, whether in artistic expression or
in philosophic thought, have always held a high place in Chinese
estimation ; so far as Sung art is concerned, the West has accepted
that view and will continue to do so.
With the coming of the Mings, the old factories, which had
supplied the ceramic needs of the Sung and Yuan dynasties, receded
into the background, and Ching-te Chen rose into pre-eminence,
Ching-te Chen, in northern Kiangsi, is the home of porcelain
proper. It was probably the source of the white porcelain found
in the gth-century ruins of Samarra, on the Tigris ; and in the Sung
period it produced a white ware which carried on the traditions of
the Ting.
Changing fashion in the Ming period decreed that the famous
monochromes of the celadon class should give place to white
porcelain decorated with pictorial designs in coloured glazes, in
overglaze enamels and in underglaze blue ; and the only mono-
chrome which appears with frequency among Ming porcelains is the
pure white.
By far the largest Ming group is composed of the blue and white
16
AN INTRODUCTION
porcelain. It ranges in quality from the daintily fashioned palace
pieces to the rough wares exported by land and sea to Western
Asia and Europe ; and it is not less varied in the shades of the
blue with which it is painted. The colouring matter is derived
from cobalt ; but the blue produced by the native supplies of this
mineral, if not laboriously refined, had a dull grey or indigo tone,
and the most famous Ming blue was imported from a Mohammedan
country, doubtless Persia. It is, in fact, known as Mohammedan
blue. The supply of this material was irregular, but we know that
it arrived in the Hsiian Te, Cheng Te, and Chia Ching periods.
During the remaining reigns apparently no new importation of it
was made. In use it was blended with the native cobalt in pro-
portions varying according to the quality of the ware desired.
The Hsiian Te Mohammedan blue is extremely rare and even
Chinese writers do not agree as to whether the prevailing shade
was light or dark. But we have many examples of the Chia Ching
blue which is of the dark violet tone seen on Plate CXLVIII. The
more familiar Ming blues are usually tinged more or less with indigo;
but even the least brilliant of the Ming blue and white porcelain is
distinguished by a freshness and freedom of design ; and the skilful
brushwork of the Ching-te Ch£n decorators is seen to the best
advantage in this ware. The actual designs are largely derived from
the patterns on silk brocades, but we hear too of designs painted
by the Court artists and sent to be copied at the Imperial factory.
Another underglaze colour, for which the reign of Hsiian Te was
specially celebrated, is the brilliant red derived from copper. This
was used both as a glaze colour (i.e. in the glaze), or for painting
individual designs under the glaze. Both types are illustrated on
Plate CVIII. The successful development of this colour seems to
have puzzled the potters after the Hsiian Te and Ch'eng Hua
periods, and we are told that they virtually abandoned it for a long
time in the 16th century in favour of an overglaze red enamel.
The Ming polychromes, which include some of the most striking
and decorative wares of the period, fall into two main groups — those
with lead-silicate glazes or enamels applied direct to the biscuit,
or body of the porcelain, and those with enamels painted on the
white glaze. The former class is sometimes called " three colour "
(san ts'ai) porcelain, the trio of colours being selected from the
following — dark violet-blue, turquoise, aubergine (a purplish brown
17 c*
THE ART OF THE CHINESE POTTER
or brownish purple), yellow, green, and an impure white. But it
should be added that the number of colours used was not always
strictly confined to three. Some of the earliest Ming polychromes
are decorated with this colour-scheme, and the designs are generally
outlined by threads of clay after the manner of the cloisonne enamel
on metal. Sometimes, too, the designs are carved or pierced in
openwork or framed by incised or pencilled outlines. The three-
colour ware with incised outlines is often found with the Cheng
Te mark, and that with outlines pencilled in brown with the Chia
Ching, and occasionally with the Ch'eng Hua, mark. All these
classes of polychrome are illustrated on Plates CX, CXVI, CXX,
etc. ; and all of them, except the last, are frequently found in pottery
as well as porcelain. The large group of porcelains with pencilled
designs covered with soft enamels applied direct to the biscuit,
though including a certain number of Ming specimens, belongs in
the main to the succeeding dynasty.
The other principal group of polychrome, that decorated with
soft enamels painted on the white glaze, has the generic name of
wu ts'ai, or five -colour ware, though here again the colours are not
strictly limited to the number implied. They include green of
several shades, yellow, tomato red, aubergine-purple, a composite
black (formed by a wash of transparent green or aubergine over a
dry brown pigment), and a turquoise green. This last is the usual
Ming substitute for a blue enamel ; but if a true blue colour was
desired, it was supplied by the ordinary cobalt-blue under the
glaze. The Ming yellow is generally brownish or of amber tint ;
the red, though thin, is opaque and tends to become iridescent.
The Ming potters were partial to openwork (ling lung) decoration
which we find on a large scale on the early wine-jars and barrel-
shaped seats. But the perfection of the pierced ornament is seen
on the delicate little bowls, made at the end of the Ming period
(see Plate CVII, Fig. i), with sides pierced in fret patterns of
unimagined fineness. This is the kuei kung (or devil's work) of
Chinese writers, and it assuredly needed an almost supernatural
skill to accomplish it. Combined with the ling lung work we often
find daintily modelled reliefs, figures, and other designs, in unglazed
biscuit. They are sometimes of microscopic fineness, at other
times of moderate size and standing out in full relief. The biscuit
in these porcelains was often overlaid with oil gilding applied on a
18
AN INTRODUCTION
red medium. Another decoration, remotely related to these biscuit
designs, is traced in white slip on a coloured, or under a colourless,
glaze. Plates CXIV and CXXXIII show good examples of this
type.
The Ming monochromes, which as already stated are relatively rare,
include celadon green, brown-black, and a variety of blues, besides
the lead-silicate glazes and enamels which are used on the three-
and five-colour ware, viz. green, aubergine, turquoise, and yellow.
The porcelain made in the early Ming reigns is naturally very rare
and precious to-day, especially that proclaimed by its fine execu-
tion to be Imperial ware. None is more highly prized than the
finer types made in the Hsuan Te and Ch'eng Hua periods, the
two classic reigns of the dynasty. The former of these reigns was
noted for its " blue and white " and underglaze red ; and the latter
for its underglaze red, and enamelled wares. A fair number of the
larger and more stoutly constructed of the 15th-century porcelains
is still to be seen ; but very few of them are in perfect condition.
Such pieces were not preserved from their early youth in silk-lined
boxes. They have had to stand the usage of many centuries and
to pay the forfeit of their longevity. The 16th century is more
fully represented in our collections, which include many fine
specimens of three-colour ware with engraved designs and " blue
and white " of the Cheng Te period, together with a great variety
of Chia Ching porcelains. Both these reigns have a high reputa-
tion among Chinese connoisseurs. The surviving Wan Li wares
are comparatively numerous, and, in general, display less refine-
ment in material and manufacture. This is partly explained by
the fact that the mines at Ma-ts'ang, which had supplied the best
porcelain clay to Ching-te Chen, were worked out by this time.
Apart from Ching-te Chen, a fine white porcelain was made at
Te-hua in Fukien in the last half of the Ming dynasty. The
Fukien ware is distinguished by a soft-looking, luscious glaze of
great transparency, which blends very closely with the body
material. In general it is milk white, or cream white, with a
pinkish tinge in some cases ; and the texture of the glaze has been
aptly compared with blancmange. It is the blanc de chine of old
French writers ; but as its manufacture continues on the old lines
to this day, it is very difficult— in many cases impossible— to
distinguish the Ming productions from those of later periods.
19
THE ART OF THE CHINESE POTTER
Figure modelling was a speciality of the Fukien potters, and some
good examples of this work are shown on Plates CIV to CVI, but
it would be unwise to guarantee that they are all of Ming date.
In addition to the porcelains of which most of the Ming specimens
in this album consist, there was a vast quantity of pottery and
stoneware made in the many factories scattered up and down the
eighteen provinces of China, Much of this is classed as " tile ware,"
and indeed it includes roof tiles and architectural pottery which
are often distinguished by finely modelled ornament and rich
glazes. But the tile factories and miscellaneous potteries also pro-
duced many noble vases, fish bowls, figures, and groups, in which
the three-colour glazes were applied to a pottery base with strikingly
beautiful effect ; and one of the most attractive of the late Ming
types are vases with a stoneware body and soft-looking turquoise,
green, and aubergine glazes, such as those represented by Plates
CXXVII and CXXIX. The provenance of these handsome vases
has not been definitely ascertained.
Such then is the story, in briefest outline, of the development of
Ceramic Art in China up to the early part of the 17th century.
After that date potting technique may have been further elaborated
and certain new glazes invented, but the art of the Chinese potter
never reached a higher plane than in the best of the early periods.
Indeed the later potters often devoted their skill to the reproduction
of the older types. It may be that part of this tendency was due to
the proverbial Chinese veneration of the past ; but in any case
these imitative efforts were not conspicuously successful. The
simple beauty and the freshness of the earlier wares are their chief
distinction, and they do not suffer from the fussiness which is often
noticeable in the work of the 18th-century potters. Most of our
readers are familiar with the finer examples of 17th- and 18th-
century porcelain, and they can form their judgment on the truth
of our statement from the illustrations which follow.
20
DYNASTIC DATES
Han dynasty, B.C. 206-220 a.d.
Northern Wei dynasty, 386-532
T'ang dynasty, 618-906
Sung dynasty, 960-1279
Yuan dynasty, 1280-1367
Ming dynasty, 1 368-1644
REIGNING PERIODS OF
CHIEF MING EMPERORS
Hung Wu, 1 368-1 398
Yung Lo, 1403-1424
Hsiian Te, 1426-1435
Ch'eng Hua, 1465-1487
Hung Chih, 1488-1505
Cheng Te, 1 506-1 521
Chia Ching, 1 522-1 566
Lung Ch'ing, 1 567-1 572
Wan Li, 1573-16 19
The Mayflower Press, Plymouth. William Brendon & Son, Ltd.
PLATES
-
PLATE I
Wine-jar with depressed globular body, high neck, and
slightly expanded mouth : high foot, slighdy spreading, and
flat beneath. On the sides are two tiger-masks in applied
relief with ring handles (in the style of a bronze) enclosing a
pattern of raised dots. Otherwise the plain surface is relieved
only by groups of horizontal wheel-made rings on the neck
and body. Red pottery with leaf- green glaze encrusted with
golden and silvery iridescence due to prolonged burial and
consequent decomposition of the glaze. Drops of glaze have
formed on the mouth-rim suggesting that it was fired upside
down.
Han dynasty. H. 17- 5".
In the possession of Mr. O. C. Raphael.
PLATE II
Ornamental brick of dark grey pottery with a stag's head
moulded in high relief, and stamped ornaments consisting of
(i) tiger-masks and rings, (2) a palm tree between two build-
ings, (3) a chariot, and (4) lozenge diaper. Borders of matting
pattern. Found in the Kaifeng district, Honan.
Han dynasty. H. 22".
In the British Museum.
*.
PLATE III
Well-jar of buff pottery with green glaze now iridescent
from age and burial. The jar is in the form of a well-head
with an erection to hold a pulley wheel, sheltered by a pent-
house with tiled roof : the ends of the cross-beam are orna-
mented with two well-modelled dragon heads ; on the rim
of the well a bucket is resting.
The tomb furniture of the ancient Chinese included
models of all kinds, not only of domestic objects but of farm
buildings and implements. Some of these, such as the
granary towers and well-heads, lent themselves more readily
than others to ornamental representation.
Han dynasty. H. 19- 5".
In the possession of Mr. A. L. Hetherington.
PLATE IV
'* Pricket candlestick " with round tray supported by a
tall stem of complicated modelling. The upper part suggests
the trunk and shoulders of a figure with folded hands ; and
below this there is a small Buddha figure in relief. The lower
part consists of a bear's head and neck resting on a rounded
pedestal. The material is a reddish pottery with green glaze,
much perished and iridescent. A candlestick of earthenware
is mentioned among the furniture of an Imperial tomb of the
later Han dynasty (25-220 a.d.) in a list quoted by De Groot,
Religious Systems of China, Vol. II, p. 401.
Han dynasty. H. 16".
In the possession of Mr. George Eumorfopoulos.
PLATE V
Wine vase with baluster body, contracted neck and stem,
and spreading mouth and foot : flat base. Red pottery with
a wash of white slip on which designs have been painted in
unfired blue, red, and black pigments. On the body is a
broad belt painted with a sequence of hunted and hunting
figures realistically drawn. They include two horsemen
armed with bows, a demon figure, deer, tigers, hounds, and a
flying crane ; the contours of the ground and growing plants
are also indicated. The remaining ornament consists of painted
bands of formal pattern, and two groups of horizontal rings
cut on the wheel. The drawings are partly obliterated by the
deposit formed by burial.
As an early example of brushwork this vase has considerable
interest for the historian of Chinese painting; see An Intro-
duction to the Study of Chinese Painting by Arthur Waley, p. 38.
Probably fourth century. H. 13- 7".
In the British Museum.
PLATE VI
Burial figure of a woman standing with hands folded
within her sleeves. She wears a robe with V-shaped opening
at the neck, and her hair is done in a bobbed queue at the
back. Grey unglazed pottery with remains of white slip.
The figure is much conventionalised, the lower part being
little more than a pedestal and the back flattened, while the
upper part is a skilful impressionist rendering of one of the
typical retinue figures found in tombs.
Probably Wei dynasty. H. 20 5".
In the possession of Mr. George Eumorfopoulos.
-
PLATE VII
Fig. i. Burial figure of a horseman heavily cloaked and mounted
on a caparisoned horse. Slaty grey, unglazed pottery with
white slip dressing and traces of pigment. Though summarily
executed this guardian figure — for he is evidently one of the
so-called "life guards " of the dead — has great dignity and
style.
Wei dynasty. H. 85".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. A rectangular " stand," open at the top and bottom.
Grey, unglazed pottery with panels on each side moulded
with vigorous designs in low relief. On one side, two con-
fronted " hydras " or bird-headed dragons and cloud scrolls,
on the other, a winged dragon and tiger ; on one end, one of
the Lokapalas or Guardians of the Four Quarters of the
Buddhist heaven ; on the other, a figure of Yama, the Thibetan
God of Hell. The precise use of this object is not clear ; but
it appears to have followed a wooden model, to judge from the
" dovetailed " frame. The reliefs are full of life and move-
ment.
Third or fourth century. L. 875".
In the possession of Mr. George Eumorfopoulos.
■
.
PLATE VIII
Figure of a dignified personage in rich robes and elaborate
headdress standing with folded hands on a rock-pedestal.
Soft white pottery unglazed, but richly pigmented in black,
red, and green. The robes are carefully modelled and decorated
with brocade patterns in colour (much of which has worn away),
and the ends of the skirt are frilled. Persons of the same
ministerial aspect have been found in princely tombs. Who
they represent, is a matter of debate. The latest contribution
on the subject by M. Pelliot {T'oung-pao, March, 1923) leaves
the question still open. If they are ministers, then, he thinks,
they must be ministers of a spiritual kingdom.
T'ang dynasty. H. 41".
In the possession of Mr. George Eumorfopoulos.
PLATE DC
Figure of a lady seated on a drum-shaped stool. She
carries a lotus flower in her right hand and holds up the end
of her scarf with her left ; her right foot rests on the left
knee. Hard white pottery with coloured glazes on the
draperies ; the scarf is brownish yellow, the under robe
white spotted with yellow, and the main robe pale green.
The head is unglazed, but the hair is coloured black.
In the grave equipment female figures are usually repre-
sented standing with folded hands in an attitude of respect.
The seated position of this figure would seem to indicate that
it represents a lady of importance. This supposition is borne
out by the care with which the figure is modelled ; the drapery
in particular has received minute attention. The shape of the
stool with its contracted waist recalls a T'ang pottery vessel
preserved in the Shoso-in at Nara.
T'ang dynasty. H. 1375".
In the possession of Mr. George Eumorfopoulos.
,
■
PLATE X
Model of a Bactrian camel with head in air. Soft white
ware with colourless glaze minutely crazed and mottled with
yellow and green. The camel is loaded with its pack, the
covering of which is in the shape of an animal's head. In
front of the pack is slung what appears to be a rolled and
twisted blanket. A board passes beneath the pack and
blanket at the side of the animal j at its front end a ewer is
suspended and at its other end a side of bacon. The model-
ling of the figure, as of every detail, is superb. The ewer is
of special interest on account of its characteristic T'ang shape.
The one on Plate XV, though not identical, resembles the
pack ewer in general form.
This camel is part of the sumptuous furniture of a tomb
believed to be that of Liu T'ing-hsiin who died in the year
728 A.D.
T'ang dynasty. H. 33- 1".
In the possession of Mr. George Eumorfopoulos,
-v^T—-*
PLATE XI
Finely modelled figure of a lion seated on a rocky base.
Soft white ware with a white glaze thickly splashed with
green. The beast with its powerful frame and fierce threaten-
ing jaws is of the naturalistic type which preceded the familiar
Buddhist lion, or dog of Fo (see Plate CXXVI), whose form
and features resemble those of the Pekingese spaniel.
T'ang dynasty. H. 105".
In the possession of Mr. H. /. Oppenheim.
PLATE XII
Fig. i. Figure of an actor, standing in an attitude of defiant
contempt. He wears a long coat with open lapels at the neck,
and girdle ; flat, polygonal base. Red ware with dressing of
white slip which is much worn. A skilfully modelled figure
full of " life-movement," and carefully finished in all the
details of the costume.
T'ang dynasty. H. 112"
In the British Museum.
Fig. 2. Figure of a lady standing, with folded hands covered by
the ends of her sleeve and scarf. Long flowing robe with high
waist-band and V-shaped opening at the neck ; scarf thrown
across the shoulders ; high, mitre-shaped headdress covered
by a hood which falls over her ears and back. Soft white
pottery with dressing of white slip, painted in unfired red
and black pigments. The robe is striped with red from the
waist downwards, and the hood is black.
T'ang dynasty. H. 12".
In the British Museum.
PLATE XIII
Circular dish with low slanting sides and flat centre,
resting on three " cabriole " legs. Soft white pottery with
incised designs glazed white and yellow in a blue ground.
The glaze is soft looking and, as usual, finely crazed. In the
centre is the design of a mirror of " water-chestnut " form
enclosing a medallion with a flying crane. Dishes of this
form have been found in tombs with a number of small cups
set out on them.
T'ang dynasty. D. 115".
In the possession of Mr. George Eumorfopoulos.
PLATE XIV
Model of a horse in unglazed, soft white pottery. The
saddle, saddle-cloth, hoofs, and rosette ornaments on the
trappings are covered with unfired red pigment which has
flaked off in places. The straps on head, collar, saddle, and
girth are shown up with blue pigment, and the rosette orna-
ments are picked out with the same colour.
The Bactrian horses of which this is a fine model were
first imported into China during the second century before
the Christian era, and by the T'ang dynasty were the possession
of most of the Chinese notables. The T'ang tombs of im-
portance usually contain models of these horses and examples
are now familiar in this country. But the fine modelling in
this instance and the life imparted to the movement of the
animal are somewhat exceptional.
T'ang dynasty. H. 16".
In the possession of Mr. F. N. Schiller,
.
PLATE XV
Ewer with globular body, contracted neck, and three-
lobed mouth, hollow bell-shaped foot, and high handle with
double rib and a stud at either end. Hard white pottery with
applied ornaments of rosette and palmette design on the sides,
and a colourless glaze mottled with green and yellow. The
handle, though ending in a palmette instead of a serpent's head,
is evidently of serpentine derivation, and this combines with
the general form of the vessel to suggest Hellenistic influences.
They have, as a consequence, obvious affinities with certain
Italian wares of the Renaissance.
T'ang dynasty. H. io-6".
In the possession of Mr. George Eumorfopoulos.
■*.. *-
-
' ■
PLATE XVI
Fig. i. Cup in the shape of an elephant's head, the trunk turned
back to form the handle. The elephant motive disappears in
the pure cup form of the sides and lip on which formal foliage
is moulded in low relief. Hard porcellanous ware with glaze
mottled with green and yellow. This piece, like Fig. i of
Plate XXIII, is similar in conception to the Greek rhyton.
T'ang dynasty. H. 2-5".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Figure of a boar reclining on an oblong base. White
porcellanous ware with olive brown glaze. The ware appears
to be of an early type, the glaze being similar to that of the
so-called proto-porcelain. The modelling is admirable and
the animal is full of life in repose.
T'ang dynasty or earlier. L. 6".
In the possession of Mr, George Eumorfopoulos.
PLATE XVII
Figure of a pedlar with a pack on his back and a jug in his
hand, realistically modelled in soft white clay and painted
with unfired black, red, and green pigments. Though the
costume of this figure is Chinese, it will be remarked that the
features of his face are foreign and rather Semitic. He may
represent a Western Asiatic sojourner of whom there were
considerable numbers in China at this time.
Tang dynasty. H. 10".
In the possession of Mr. A. L. Hetherington.
boo
-
PLATE XVIII
Fig. i. Model of a lion seated and scratching his head with left
hind paw. Hard buff white ware with creamy white glaze
tinted in parts with green and yellow. Low base with pierced
sides. The contented expression of the beast enjoying a good
scratch is admirable.
Probably T'ang dynasty but possibly later. H. 8-6".
In the possession of Mr. C. Rutherston.
Fig. 2. Model of a duck. Soft white ware with creamy glaze
splashed in parts with yellow and green. The feathers are
indicated by engraved lines. Though somewhat impressionist
in the modelling, the duck is very life-like in its pose.
T'ang dynasty. H. 7- 75".
In the possession of Mr. C. Rutherston.
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PLATE XIX
Ewer with shapely oval body, short neck and wide mouth,
and flat base ; double handle with stud at the base and
elaborate dragon head biting the rim ; short, straight spout
with loop above it. Hard grey ware with dark chocolate-
brown glaze which stops some distance above the base.
Apart from suggestions of Hellenistic influence, this piece
is interesting as an example of the mastery of form achieved
by the T'ang potter.
T'ang dynasty. H. 105".
In the possession of Mr. George Eumorfopoulos.
PLATE XX
Jar with ovoid body, short, slightly spreading neck, and
dome-shaped cover with knob ; flat base with bevelled edge.
Light buff ware with a wash of white slip and designs reserved
in white in a green ground, a band of chevron pattern with
scattered plum blossoms between. The chevrons are bordered
with blue lines broken by dabs of yellow. The glaze, as usual,
is transparent and almost colourless in itself, and the colour
is applied locally on the body of the ware ; the glaze stops
some distance above the base.
T'ang dynasty. H. 105".
In the possession of Mr. George Eumorfopoulos.
PLATE XXI
Vase of slender baluster form, eight-lobed, with tall neck
and spreading foot ; the mouth expands and the lip is turned
over in eight foliations. Hard porcellanous ware of reddish
tone with dressing of white slip and iridescent green glaze,
which has scaled off in places. The graceful lobed form and
foliate mouth of this vase are borrowed from a Han bronze
known as the k'uei hua p'ing or mallow flower vase. It must
have taxed the skill of the Tang potter to render this form of
vase in clay.
T'ang dynasty. H. 1275".
In the possession of Mr. George Eumorfopoulos.
PLATE XXII
Model of a saddled horse standing on a flat rectangular
base ; soft white pottery with transparent, almost colourless,
glaze splashed with blue. The plum blossom ornaments on
the head-harness and the palmette-shaped pad on the nose
are characteristic T'ang decorations. The delightful modelling
of the animal needs no comment.
T'ang dynasty. H. 11-5".
In the possession of Mr. George Eumorfopoulos.
PLATE XXIII
Fig. i. Cup moulded in the form of a duck. Buff- white porcel-
lanous ware with coloured glaze. The head and neck are
modelled after nature, and the body gradually passes into the
form of a cup, in the manner of the Greek rhyton. The head
is bent back to preen the back feathers ; and the feathers are
treated like overlapping leaves in clusters with dots between.
The glaze on the neck is white mottled with green and yellow ;
the cup is green outside and mottled within.
T'ang dynasty. L. 45".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Dish of quatrefoil shape with deep curving sides and small
base. Soft white pottery moulded inside with two fishes on
the bottom ; trefoil ornament incised on the four lobes and
hatched bands between. The glaze is coloured green and
yellow.
The same model is known in T'ang silver ; and a white
porcelain dish of the same form and design was found on an
early site (eighth or ninth century) at Rhages in Persia.
T'ang dynasty. L. 5-5".
In the possession of Mr. George Eumorfopoulos.
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PLATE XXIV
Bottle with slender pear-shaped body and tall neck
expanding slightly towards the mouth ; hollow foot. Grey
pottery body with dressing of white slip and incised ornament,
and a transparent glaze locally coloured, viz. a broad belt with
foliage scroll, white in a green ground, bordered with yellow.
The glaze on the neck is a beautiful pearly white and of great
depth and solidity ; it stops below the decorated part.
The resemblance of the design to the Gothic scrolls such
as appear on European mediaeval textiles and on the pavement
tiles from Chertsey Abbey and elsewhere, is interesting
though probably fortuitous.
Tang dynasty. H. 85".
In the possession of Mr. George Eumorfopoulos.
PLATE XXV
Bottle with beautiful ovoid body, slender neck with spread-
ing mouth, and flat base. Porcelain with thick finely crackled
glaze, of faint bluish tint, which stops short of the base in a
wavy line in typical T'ang fashion.
Bottles of this elegant form are seen in T'ang sculpture
and religious pictures in the hands of Bodhisattvas. Examples
will be found in illustrations of the Lung-men rock temples
and of the pictures found by Sir Aurel Stein in Chinese
Turkestan.
T'ang dynasty. H. 8- 9".
In the possession of the Misses Alexander.
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IVXX HT
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PLATE XXVI
Fig. i. Water-pot of melon-shape, of reddish buff pottery with
yellow glaze inside and mottled aubergine purple outside.
The glazes are encrusted in places, especially in crevices,
with iridescence which can only have been formed by pro-
longed chemical action under conditions such as would obtain
during burial. Though this aubergine colour is very rare on
T'ang pottery, there is reason to think that the piece belongs
to that period.
Tang dynasty. H. 275".
In the possession of Mr. A. L. Hetherington.
Fig. 2. Vase with ovoid body, low contracted neck with slightly
spreading lip, and fiat base with bevelled edge. Soft white
pottery with pale straw-coloured glaze liberally splashed with
blue. The glaze as usual is minutely crazed.
Tang dynasty. H. 49".
In the Victoria and Albert Museum.
PLATE XXVII
Vase with ovoid body slightly contracted above the base,
short neck and wide mouth with rolled rim. Hard buff ware
with incised ornament and coloured glaze. On the body are
two overlapping bands of formal leaves with triple outlines
and hatched details ; the lower band is green and the upper
yellow, and the surface above is green ; on the shoulder is a
band of three wheel-made rings. The motive of the leaf
ornament is probably derived from the lotus flower.
T'ang dynasty. H. 75".
In the possession of Mr. George Eumorfopoulos.
PLATE XXVIII
Vase of rounded oval form with short straight neck and
narrow mouth ; a band of wheel rings on the shoulder and
above the base, which is flat. Red earthenware with white
slip covering which has been scraped away so as to leave the
ornament in white relief in the red ground. Much of this
ornament has in turn been coloured green, and the whole is
covered with a transparent glaze of faintiy yellowish tint.
The final effect is a white and mottled green design in an
orange-red ground. The glaze has scaled off in parts. The
design consists of a large and boldly etched dragon among
cloud-scrolls, and on the shoulder a border of running lotus
pattern.
This is an early example of the graffiato technique ; the
colour-scheme is unusual, but closely resembles that of a
remarkable figure in the British Museum which was found in
Szechwan in the tomb of a dignitary who died in 839 A.D.
T'ang dynasty. H. 15- 5".
In the possession of Mr. George Eumorfopoulos.
PLATE XXIX
Fig. i. Bottle with slender neck, wide mouth, and pear-shaped
body moulded in five lobes. Three wheel-made rings at the
base of the neck. Porcelain with ivory white glaze which
forms in places in brownish drops. The glaze on one side
stops short of the base which is unglazed beneath.
Tang dynasty. H. 525".
In the possession of the Misses Alexander.
Fig. 2. Ewer with beautifully turned ovoid body and spreading
neck ; flat base with bevelled edge ; short spout, and handle
in form of an animal standing on the shoulder and looking
into the mouth of the vase. White porcelain with ivory white
glaze in which are brownish " tear drops " and stains ; the
glaze stops short of the base.
With it is a circular stand of similar ware supported by a
ring of demon busts.
T'ang dynasty. H. 35".
In the possession of Mr. F. N. Schiller.
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PLATE XXX
Fig. i. Vase with ovoid body and short straight neck. Eight ribs
running vertically down the sides give it an octagonal appear-
ance ; and there are four pierced wing-shaped handles at the
junction of the neck and body. White porcelain. The ivory
white glaze, which forms in brownish " tears " in the lower
parts, stops short of the flat base.
This vase and those shown in Plate XXIX have character-
istics identical with those of the fragments of T'ang porcelain
found at Samarra (see p. 5 of Introduction) ; for this reason
they have been ascribed to the period. Previously this type
of ware had been regarded as probably of Sung date.
T'ang dynasty. H. 5- 25".
In the possession of Mr. F. N. Schiller.
Fig. 2. Jar with ovoid body, short neck, and wide mouth ; flat
base with bevelled edge. Porcelain with warm ivory white
glaze, thick and faintly crazed. The finish of this simple jar
and its beautiful lines are characteristic of the T'ang potter's
work.
T'ang dynasty. H. 4- 25".
In the possession of Mr. F. N. Schiller.
PLATE XXXI
Vase with globular body and short neck and everted rim ;
spreading foot with base slightly hollowed out and unglazed.
The body is softish white pottery. The glaze, which extends
to the foot-rim, consists of orange-brown splashes with white
centres, dappled on a green ground. The inside of the vase
is glazed yellow.
The shape of the vase is beautiful, and the glaze has been
applied with much skill.
T'ang dynasty. H. 79".
In the possession of Mr. George Eumorfopoulos.
Ajq
PLATE XXXII
Jar with ovoid body, short neck, and wide mouth. Buff
stoneware with thick opalescent glaze of greenish grey, clair
de lime colour with a purplish splash shading into green.
The glaze is faintly crazed and stops short of the base where
it has formed a thick line. On the mouth-rim the glaze is
thin, and a brownish colour emerges.
Chun ware. Sung or Yuan dynasty. H. 975".
In the possession of Mr. George Eumorfopoulos.
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PLATE XXXIII
Fig. i. Bulb-bowl of oblong rectangular form with four cloud-
scroll feet. Grey porcellanous ware with purplish opalescent
glaze on the outside showing prominent " earth-worm "
marks (see p. 8). The inside has a clair de lune glaze with
the body showing through where the glaze is thin.
The base is washed over with a greenish brown glaze, and
has the usual ring of spur-marks and the numeral shih (ten)
incised.
Chun ware. Sung dynasty. L. 71".
In the possession of Mr. F. N. Schiller.
Fig. 2. Bulb-bowl, circular, with three cloud-scroll feet ; of
shallow bowl-shape with grooved band below the lip outside
and a row of studs. Grey porcellanous ware of fine grain
with thick opalescent glaze, mottled grey inside with prominent
" earth-worm " marks ; on the outside the glaze which runs
in thick welts on the lower part is purple streaked and splashed
with fiocculent grey. The characteristics of the base will be
seen on the next plate. With regard to the form, the Po wu
yao Ian remarks " of these (Chun) wares, the sword-grass
bowls and their saucers alone are refined." It would appear
that the flower-pots, such as that of Plate XXXV, are the
sword-grass bowls, and that shallow bowls like the present
one were originally used as saucers or stands for the flower-
pots. They would, and indeed did, also serve separately as
bowls for growing bulbs.
Chun ware. Sung dynasty. D. 95".
In the possession of Mr. George Eumorfopoulos.
PLATE XXXIV
Base of the circular bulb-bowl illustrated on the preceding
plate showing the olive-brown glaze, the incised numeral i
(one), the ring of " spur-marks," the biscuit under the feet,
and the thick welt of glaze on the base-rim.
The numerals, ranging from one to ten, are found on the
flower-pots and bulb dishes of the " Imperial Chun," as the
finest type of this ware has been called, and apparently indicate
the size ; number one size being the largest.
•
PLATE XXXV
Hexagonal flower-pot with narrow flat rim. Grey porcel-
lanous ware with thick opalescent glaze, of purplish lavender
colour flecked with grey inside, and of purple colour, verging
on crimson, and heavily splashed and flecked with grey on
the outside. Olive -brown glaze under the base, and the
numeral liu (six) incised. There is besides an inscription
incised during previous ownership — Chien fu kung. Chu shih
hsia shan yung " Chien-fu palace. For use on the artificial
hill of rockery and bamboos " ; the latter doubtless refers to
a pavilion in the pleasure grounds of the palace.
For a note on the incised numerals found on this type of
ware, see preceding plate.
Chun ware. Sung dynasty. H. 65".
In the possession of Messrs. G., R. and C. Benson.
1
I
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I
PLATE XXXVI
Fig. i. Tea bowl with crackled lavender-grey glaze, thick and
smooth to the touch. The base-rim shows a greyish white por-
cellanous body which has browned on the surface in the firing ;
and there is a wash of glaze beneath the base. This type of
ware is sometimes called Ko yao, which evidently in several
respects resembled the Kuan yao or Imperial (official) ware
made at Kai-feng Fu in the early part of the Sung dynasty
and at Hang Chou in the latter part.
Kuan ware. Sung dynasty. D. 44".
In the possession of Mr. P. David.
Fig. 2. Four-sided vase of bronze form ; body with pear-shaped
outline ; straight neck and low, hollowed foot ; two tubular
handles. The body exposed at the foot-rim is dark brown,
and the glaze is pale blue-grey, thick and boldly crackled.
Below the neck is a belt of foliage scroll in low relief enclosed
by two ridged borders, and there is a plain raised band
between the upper edges of the handles. The base is glazed.
This specimen in technique resembles closely Fig. 1 above.
Ko type. Sung dynasty. H. 1025".
In the possession of Mr. George Eumorfopoulos.
PLATE XXXVII
Water pot in the shape of a lotus bud with slightly con-
tracted mouth. Greyish white porcellanous ware burnt
brown at the exposed edge of the base. Thick, pitted opales-
cent glaze of pale blue colour with three S-shaped patches of
purple. The glaze is thin at the lip, but has formed thickly
in the lower part and there is a patch of it under the base.
The purple markings on this piece are symmetrical and
evidently were produced intentionally.
Kuan ware. Sung dynasty. H. 35".
In the possession of the Misses Alexander.
PLATE XXXVIII
Plate with flat bottom and narrow, flat foot-rim. Greyish
white porcellanous ware burnt red on the raw edge of the
foot-rim. Thick opalescent glaze of bluish colour with
patches and suffusions of purple frosted with green. The
base is glazed.
Plates of this typical Sung form sometimes have a ring of
spur-marks on the base recalling those of the Chun ware
bulb-bowls. This particular specimen is a fine example of
the gorgeous effect produced by the skilful use of copper in
different conditions.
Kuan ware. Sung dynasty. D. 74".
In the possession of the Misses Alexander.
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PLATE XXXIX
Jar with ovoid body and short neck. Buff stoneware body
with thick, lightly crackled opalescent glaze of pale lavender-
blue colour with purplish suffusions on the shoulders.
The " soft Chun," also called in China " Ma Chun "
after a potter named Ma, is regarded by many Chinese
authorities as a Ming production. To judge by the forms of
known examples, its manufacture may well have ranged from
the Sung to the end of the Ming periods.
" Soft Chun." Yuan or early Ming dynasty. H. 45".
In the possession of the Misses Alexander.
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PLATE XL
Flower vase of double-gourd shape. Reddish buff stone-
ware with thick lustrous glaze of pale lavender tint lightly
crackled and splashed in front with dull purple. The glaze
has run in a thick welt round the edge of the foot-rim and the
base is glazed. For a note on the " soft Chun " ware see
preceding plate. The shape of this vase seems to point
definitely to a Ming date.
" Soft Chun." Ming dynasty. H. 7-4".
In the possession of Mr. P. David.
PLATE XLI
Fig. i . Incense vase on three small feet ; depressed globular
body and straight neck with expanded mouth-rim. Grey
porcellanous ware with thick, smooth, opalescent glaze of
pale lavender-grey colour with blushes of purple.
Chun ware. Sung dynasty. D. 34".
In the possession of Mr. H. J. Oppenheim.
Fig. 2. Shallow bowl with wide mouth and small foot. Grey
porcellanous ware (burnt red on the unglazed base) with thick
opalescent glaze of lavender-grey colour with splashes of
purple on the interior. The glaze has run thick at the mouth
and the colour has faded into a brownish edge, but it has
correspondingly thickened round the base where it stops in
an irregular line.
Chun ware. Sung dynasty. D. 5- 25".
In the possession of Mr. H. J. Oppenheim.
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PLATE XLII
Square vase of bottle shape with swelling body and neck
almost straight ; two handles in form of elephant heads.
Porcelain with bubbly felspathic glaze of rich olive-green
colour. The base is glazed, but the raw edge of the foot-rim
shows a white porcelain which has burnt red in places.
This vase, which is remarkable for its unusual glaze, is
reputed to be Kuan ware, and, according to some critics,
Kuan ware of the Sung dynasty. But the term Kuan in the
sense of " imperial " is also applied to wares of the Ming
period, and it is quite possible that this is an Imperial piece
of the Ming dynasty, a supposition to which the nature of the
base lends colour.
H. 9-75".
In the possession of Mr. F. N. Schiller.
PLATE XLIII
Vase with ovoid body, and short neck slightly spreading
towards the lip ; on the shoulders are two bands of round
bosses, derived from a bronze model. Hard buff ware with
thick opaque clair de lune grey glaze, faintly crazed. The
glaze has rather a dull paint-like lustre, and is not so vitreous
as the Chun glaze which it imitates.
Kwangtung ware. Ming dynasty. H. 125".
In the possession of Mr. George Eumorfopoulos.
PLATE XLIV
Basin of fine white porcellanous ware with ivory white
glaze. The mouth-rim is unglazed and bound with copper.
The outside is carved with a pattern of overlapping lotus
petals in three rows, and there is a groove below the lip.
Inside is a carved lotus design with flower, leaf, seed-pod, and
tendrils in scroll form.
A specimen of unusual size and quality.
Ting ware. Sung dynasty. D. 12".
In the possession of the Misses Alexander.
PLATE XLV
Bowl of conical form with small foot. Ivory white glaze
with moulded design of flying phoenixes among flowers ;
border of key fret or thunder and cloud pattern (lei wen) ;
a flower in the centre ; bronze band on the lip. The ware is
a fine white porcellanous material, translucent in the thinner
parts, and the glaze has collected in well-defined " tear drops "
on the back.
This particular bowl was evidently highly prized at the
Imperial Court of the Emperor Ch'ien Lung (1735-1795) for
on its base engraved through the glaze is an inscription of which
the following is a rendering :
" Amid accumulated pollen and massed flowers the two
phcenixes droop their wings. The colour is confined to
that prized by the Yin dynasty (i.e. white, which was the
Imperial colour in that dynasty), simple and unadorned.
It is not till we come down to the Chu dynasty of Hsiian
(-te) and Ch'eng (-hua), that we get elaborate painting and
the employment of the five colours.
Composed by the Emperor Ch'ien Lung in the spring
of the cyclical year ting-yu (i.e. 1777 A.D.), and inscribed by
his order."
Pai Ting ware. Sung dynasty. D. 7".
In the possession of Mr. P. David.
PLATE XLVI
Ewer of double- gourd form with plain spout and elegantly
curved handle. White porcellanous ware carved above and
below in a pattern of overlapping lotus petals. Ivory white
glaze. In form and material an exquisite example of Sung
ceramic art.
Ting ware. Sung dynasty. H. 8".
In the possession of Mr. George Eumorfopoulos.
PLATE XLVII
Dish with shaped rim suggesting six foliations ; fine white
porcellanous ware with an orange -coloured translucence ;
ivory white glaze. The rim is unglazed and bound with
copper. Decorated with a freely carved design of two man-
darin ducks swimming in a lotus pond.
A pair of mandarin ducks is an emblem of conjugal happi-
ness.
Ting ware. Sung dynasty. D. 101".
In the possession of the Misses Alexander.
PLATE XLVIII
Vase of bronze form with pear-shaped body, low foot,
straight wide neck with flanged mouth-rim ; two ring handles.
White porcellanous ware with boldly engraved designs and
warm ivory white glaze. On the body is a broad belt of lotus
scrolls, bordered by wheel-made rings ; on the neck are stiff
plantain leaves etched with formal ornament ; and above the
base is a band of stiff overlapping leaves.
Ting ware. Sung dynasty. H. 135".
In the possession of Mr. George Eumorfopoulos.
PLATE XLIX
Saucer dish of white porcellanous ware with ivory white
glaze and a splendidly carved design of a three-clawed dragon
pursuing a pearl. The edge of the rim is unglazed, and the
base is glazed, showing the usual " tear drop " formation.
The dish is more heavily built than is usual in the Ting ware
to allow of the deeper type of carving.
Ting ware. Sung dynasty. D. 11-25".
In the possession of the Misses Alexander.
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PLATE L
Fig. i. Bottle, pear-shaped, with flattened faces ; narrow tapering
neck and two scroll handles conventionalised from dragon
forms. Buff- white ware moulded with what appear to be
fungus scrolls and bats in low relief. Creamy glaze minutely
crazed. The design of bats is symbolical of Happiness, and
the ling chih fungus of Longevity ; but the scroll ground is
obscured by the glaze and its nature is not determined with
certainty.
Ting ware of the earthen variety (t'u ting). Ming dynasty.
H. 7".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Square vase with pear-shaped outline ; short straight foot ;
clear-cut mouth with low cover. On the sides are two formal
handles of tiger-mask and ring type, and on the cover are four
loops. Buff-white stoneware with creamy glaze minutely
crazed. Incised borders of key-fret — the Chinese lei wen or
cloud and thunder pattern — on the lid, mouth, and foot-rim.
The form of this vase, derived from a bronze, is typical of the
Sung taste.
Ting ware of the earthen variety (t'u ting). Sung dynasty.
H. 6-75'.
In the possession of Mr. George Eumorfopoulos.
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PLATE LI
Bowl with gently rounded sides and narrow, low base.
The rim is shaped in six foliations, and six compartments are
faintly suggested on the exterior by engraved lines. Fine
white porcellanous ware with ivory white glaze showing " tear
stains " under the base. The mouth-rim is raw and bound
with metal. Inside the bowl is a boldly carved lotus design
with a bud in the middle and flowers and foliage on the sides.
Two views of the bowl are given so that the general shape as
well as the interior decoration can be realised. The quality
of this specimen is rather exceptional and shows the Ting
ware at its best.
Pai Ting ware. Sung dynasty. D. 82".
In the possession of Mr. O. C. Raphael.
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PLATE LII
Fig. i. Bowl with wide mouth, gently curved sides, and narrow
base with low foot-rim ; the mouth-rim is nicked so as to
suggest a foliate edge. Exquisitely fine egg-shell porcelain
pared so thin on the sides as to seem to consist of glaze alone.
Beneath the glaze is a design of Imperial five-clawed dragons
and pearls, delicately traced in white slip and barely visible
except as a transparency. In the centre inside is the Yung Lo
mark in four archaic characters etched with a needle point.
This bowl is a pair to the noted specimen in the Franks
Collection in the British Museum ; and it is a beautiful
example of the t'o-t'ai (bodiless) porcelain which was one of
the triumphs of the Imperial potters in the Yung Lo period
(1403-1424 A.D.).
D. 825".
In the possession of Mr. George Eumorfopoulos,
Fig. 2. Bowl with wide mouth, straight sides, and narrow base.
White porcellanous ware with ivory white glaze. The rim is
nicked to suggest a foliate edge. Inside is a finely carved
design of peonies and foliage. The base is glazed and the
foot-rim, which is shallow, is raw at the edge.
Ting ware. Sung dynasty. D. 7- 25".
In the possession of Mr. George Eumorfopoulos,
PLATE LIII
Ewer with reeded handle and spout issuing from a dragon's
head ; the body which consists of white porcelain is shaped in
eight lobes. The glaze which is of the Ting type is ivory-
white and does not cover the base. This specimen may be as
early as the T'ang dynasty.
Sung dynasty or earlier. H. 7*5".
In the possession of the Misses Alexander.
PLATE LIV
Vase with ovoid body and short, straight neck. Porcelain
with ivory white glaze, the body beautifully carved in low
relief with peony flowers and foliage. On the shoulder is a
band of oblique petal pattern. The neck is incomplete and
has had four loop handles. The base is deeply hollowed out,
with narrow rim ; it is glazed and shows marks of the sand on
which it stood in the kiln.
Ting type. Sung dynasty. H. 55".
In the possession of Mr. F. N. Schiller.
PLATE LV
Fig. i. Vase of bronze beaker form with globular body truncated
on the shoulder, high foot, and wide neck with flaring mouth ;
two wheel rings on the foot and at the base of the neck. White
porcelain with ivory white glaze. This vase is distinguished
by its finished potting and elegant form. It is of Ting type,
and perhaps made at Ching-te Chen.
Sung dynasty. H. 575".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Incense burner with bowl-shaped body, high foot, and
two twisted handles issuing from dragon heads. Buff-white
porcellanous ware with incised designs and soft-looking
creamy glaze. On the sides, a belt of wave and plum-blossom
pattern, and below this a series of shallow horizontal flutes.
The wave and plum-blossom design is repeated on the foot.
This pattern is frequently mentioned among those of the
porcelain supplied to the Imperial palace in the Ming
dynasty.
Ting type. Ming dynasty. H. 45".
In the possession of Mr. George Eumorfopoulos.
PLATE LVI
Vase of beaker shape with slender ovoid body, tall neck,
and spreading mouth with foliate lip ; two lion mask handles
with rings. Buff-white porcellanous ware with yellowish
white glaze minutely crazed. Shallow foot glazed beneath.
Ting type, t Sung dynasty. H. 155".
In the possession of Mr. George Eumorfopoulos,
PLATE LVII
Fig. i. Bottle with slender neck ending in a bulb (" onion shape ");
porcellanous ware with faint reddish translucency ; creamy
white glaze of Ting type, lightly crackled. Finely carved
design of archaic dragons among ling chih fungus. On the
neck, a double border of formal leaf design and ju-i pattern ;
and a ju-i pattern on the bulb.
A beautifully finished piece probably made by one of the
late Ming potters who specialised in imitations of Ting ware.
The potting of the base and the nature of the crackled glaze
support this attribution.
H. 6-75'.
In the possession of Mr. J. Baird.
Fig. 2. Round box with flattened cover. Beautiful cream-white
" soft-paste " ware with lightly incised designs. On the
cover is a five-clawed Imperial dragon rising from waves to
grasp a pearl, and round the sides a wave pattern.
This attractive type of ware was doubtless intended to recall
the Sung Ting porcelain, and we know that skilful potters were
engaged in making imitations of Ting ware at Ching-te Chen
in the latter half of the 16th century. It will, however, be
remembered that similar cream-white wares of great beauty
were made in the early reigns of the Manchu dynasty, and the
differences between the Ming and Ch'ing imitations of the
Sung ware will always be difficult to seize.
Probably 16th century. D. 4".
In the possession of Mr. F. N. Schiller.
PLATE LVIII
Vase with finely turned ovoid body, short neck, and
expanding mouth. Buff-grey stoneware with a coating of
white slip and an almost transparent glaze minutely crackled
and clouded with reddish stains due to burial. The base is
unglazed.
This type of ware has been found in the southern part of
the province of Chihli, and is reputed to have been made at
Kuliihsien or Kichownan. Both towns are in the region of
Ting-chou.
Sung dynasty. H. 1275".
In the possession of Mr. F. N. Schiller.
PLATE LIX
Ewer with ovoid body tapering to a small base ; slender
neck spirally ribbed and wide flaring mouth ; ribbed handle
and carved spout. Buff-grey stoneware coated with white
slip and covered with an almost transparent cream-white glaze
which has crazed freely and absorbed brownish stains during
burial. The glaze stops short of the base. A slightly raised
band on the shoulder relieves the severity of the outline. The
ribbed neck and widely cupped mouth are developments of a
T'ang form.
This type of ware is usually attributed to the Sung period ;
but there are features of this ewer — the ribbed neck and cup-
shaped mouth — which are familiar on T'ang vases.
Kuliihsien or Kichownan ware. Sung dynasty or earlier.
H. 1 1- 5".
In the possession of Mr. O. C. Raphael.
PLATE LX
Deep bowl of buff-white stoneware with a wash of white
slip and an almost colourless glaze which forms with the slip
a creamy white surface. The glaze, which stops short of the
base, is minutely crazed. The bowl has evidently been buried,
for through the crazing a reddish discoloration has penetrated.
On the sides is a belt of incised palm scroll bordered by two
plain rings above and below. The incised design is etched
through the slip to the body, but is covered with the almost
colourless glaze.
Kuliihsien or Kichownan ware. Sung dynasty. D. 55".
In the possession of Mr. J. Baird.
PLATE LXI
Vase with pear-shaped body and long neck with slightly
expanding mouth. On the sides there are two rudimentary
handles in the form of elephant masks with rings. Buff
porcellanous stoneware with finely crackled glaze of a warm
ivory-white colour, clouded in places with brown. The base
is glazed. This type of ware is difficult to date with accuracy,
but represents the Ting tradition as carried on by the Ming
potters in the various factories in the Kiangnan district, i.e.
in Kiangsu and Anhwei
Kiangnan Ting. 15th century. H. 1275".
In the possession of Mr. V. W ether ed.
I
II
PLATE LXII
Bowl with rounded sides and bottom, with three knob-
feet. The unglazed mouth-rim is fitted with a silver band,
and the body of the ware is not disclosed but rings with a
clear note on percussion. The glaze is a brilliant black with
a few brown markings of the " hare's fur " type near the
mouth-rim and on the knob feet.
The unusual nature of the feet, the fineness of the potting,
and the even texture of the glaze differentiate this bowl from
the familiar black wares of the Sung period to which it is
reputed to belong.
It is quite possible that it belongs to that rare type, black
Ting, which Hsiang Yiian-p'ien (in his 16th-century album)
evidently considered as scarce as black swans.
D. 82".
In the possession of Mr. F. N. Schiller.
.
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PLATE LXIII
Funeral jar with body of oblate oval form, straight neck,
and dome-shaped cover surmounted by a bird. On the
shoulders are three horizontal rounded ridges on which a
dragon applied in full relief is pursuing a pearl. Greyish
white porcellanous ware (burnt red on the raw edges) with
soft dove-grey celadon glaze of great beauty. It is the
" Kinuta " type (see p. n).
Other examples of this form are known. In some cases a
tiger takes the place of the dragon on the shoulder ; in others
there are Buddhist figures in relief. It appears to be a refined
version of the rather crude funeral jars which have been found
in many tombs, tall slender objects with dragons or figures
crudely applied on the upper part.
Under the base is incised the character ti (earth).
Lung-ch'iian ware. Sung dynasty. H. 10".
In the possession of Mr. George Eumorfopoulos.
I
PLATE LXIV
Beaker of bronze form with round body, tall neck, and
flaring mouth ; spreading base with low foot-rim. Porcel-
lanous ware, burnt red at the exposed edge of the foot-rim,
with grey-green celadon glaze.
On the bulb are four dentate ribs, and on the neck and
base four pointed leaf designs in applied relief, stamped with
key-fret pattern in the style of an ancient bronze. A fine
example of the art of the school of potters founded by the
younger Chang.
Lung-ch'iian ware. Sung dynasty. H. 9-5".
In the possession of Mr. P. David.
■
PLATE LXV
Fig. i. Vase, bottle-shaped, with ovoid body, straight neck, and
spreading mouth. Greyish white porcellanous ware, burnt
red at the exposed edge of the foot-rim, with a beautiful pale
greenish grey celadon glaze.
The faintly raised collar gives a finish to the simple elegance
of this beautiful vase.
Lung-ch'iian ware. Sung dynasty. H. 67".
In the possession of Mr. P. David.
Fig. 2. Pigment box, round with flattened cover. Greyish
porcelain with delicate sea-green celadon glaze of peculiar
softness. On the cover is a carved lotus spray finely drawn,
and on the edges wheel-rings appear through the glaze. The
box is shallow and quite plain, with three round trays fixed
inside ; the base is small and concave and shows the marks of
a ring of supports. The biscuit where visible at the edges
and on the base is browned.
Lung-ch'iian ware. Sung dynasty. D. 46".
In the possession of Mr. H. J. Oppenheim.
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PLATE LXVI
Fig. i. Bowl of conical form with small foot; fluted on the
exterior in petal pattern. Soft greenish grey glaze finely
crackled with irregular lines. The unglazed edge of the base-
rim shows a buff-white ware which has browned on the
surface in the kiln. The glaze has the dull lustre of marble.
This bowl may be either a specimen of Ko yao (i.e. made by
the school of potters founded by the elder brother Chang in
the Lung-ch'iian district), or an example of the Tung Ch'ing
ware (Eastern celadon) produced at one of the Honan factories,
in the neighbourhood of Kaifeng.
Sung dynasty. D. 67".
In the possession of Mr. P. David.
Fig. 2. Flower-pot of cylindrical form with three small feet.
Greyish white porcellanous ware with three lotus designs in
applied relief and a soft grey-green celadon glaze. The body
has turned a rusty brown at the base-rim where exposed to
the fire.
Lung-ch'iian ware. Sung or Yuan dynasty. D. 58".
In the possession of Mr. P. David.
PLATE LXVII
Fig. i. Tripod incense vase (ting) with three ribs on the sides and
continued down the three legs. Greyish white porcellanous
ware, thin and finely potted and coated with a lustrous grey
celadon glaze of exquisite tone and texture. The ware has
browned in the exposed parts under the feet.
Like the incense vessel in Fig. 2 the glaze is of the colour
and texture which goes by the name Kinuta, see p. 11.
Lung-ch'iian ware. Sung dynasty. D. 575".
In the possession of Mr. O. C. Raphael.
Fig. 2. Incense vase of bronze form, with deep bowl-shaped
body, straight foot-rim, and two handles issuing from fish-
dragon heads. A slightly raised band above the swell of the
body breaks continuity in the outline. Greyish white porce-
lain with a pale greenish grey celadon glaze. The biscuit,
where exposed on the mouth-rim, has burnt red, and similar
red appears on the edge of the foot-rim.
A vessel of refined form and indescribable delicacy of
colour, belonging to the so-called Kinuta group.
Lung-ch'iian ware. Sung dynasty. H. 3-75".
In the possession of Mr. H. J. Oppenheim.
PLATE LXVIII
Vase with wide ovoid body, short, straight neck, and wide
mouth with flanged lip, and two^ handles' in the form of dragon
masks pierced for rings. Grey porcellanous ware with sea-
green celadon glaze ; the base formed by a saucer which has
been dropped in and secured by the glaze. The ornament is
carved in relief and etched. On the body is a broad belt with
relief design of pavilions and groups of figures ; one figure is
pointing to a doorway over which is written sheng hsien
(become a hsien or Immortal) ; on the other side Lii Tung-pin
appears, on a cloud, to his votaries, and there is the legend
yo yang. On the shoulder is a band of ju-i ornament, and
above the base, false gadroons enclosing stiff leaves. On the
neck a floral scroll is incised and a vandyke pattern on the
mouth-rim.
Doubtless the buildings represent the famous Yo-yang
tower in Hunan ; and the scene may be intended to represent
a Taoist adept about to become a hsien, i.e. to enter on Immor-
tality.
Ch'u Chou ware. Ming dynasty. H. 14".
In the possession of Mr. George Eumorfopoulos.
PLATE LXDC
Dish, saucer-shaped, with flattened and everted rim ; the
outside is fluted. The inside has an incised wave pattern,
and in the centre there is a four- clawed dragon pursuing a
flaming pearl in applied relief under the glaze. The base is
glazed, and the biscuit at the foot-rim has burnt red ; there
is no unglazed ring on the base.
Lung-ch'uan ware. Sung or Yuan dynasty. D. 14- 5".
In the possession of Mr. F. N. Schiller.
PLATE LXX
Fig. i. Vase of flattened, bottle form, with pear-shaped body
and narrow neck with spreading quatrefoil mouth. Greyish
porcellanous ware, burnt a rusty red at the foot-rim, with a
soft grey-green celadon glaze with the dull lustre of a water-
worn stone. Two handles on the neck suggesting an elephant
head and trunk, with rings in full relief. On each side are
moulded designs in low relief ; a ju-i shaped panel enclosing
the characters shou (longevity) and fu (happiness) enclosed by
flowering sprays ; below the character shou is a formal hill
design (suggesting shou shan, " longevity of the hills "), and
beneath the fu is a formal wave design (suggesting fu hai,
** happiness boundless as the sea "). On the neck are a key
fret band and stiff plantain leaves. The glaze resembles that
found on Sung or Yuan specimens ; but the decoration points
to the probability of a Ming date. In the latter dynasty the
Lung-ch'uan potters moved to another centre at Ch'u Chou.
Ch'u Chou ware. Ming dynasty. H. 8".
In the possession of Mr. H. B. Harris.
Fig. 2. Bulb-bowl, of shallow bowl shape with three cloud-scroll
feet : below the lip, which is slightly contracted, is a channelled
band with rosette studs at regular intervals. Grey porcellanous
ware, with watery grey- green celadon glaze minutely crackled.
On the outside is a faintly carved floral scroll. The glaze has
run in large drops round the edge of the base, which is raw and
heavily browned. Inside, the glaze has accumulated towards
the centre, which is bare and burnt a reddish brown.
Ch'u Chou ware. 16th century. D. 16".
In the possession of Mr. George Eumorfopoulos.
PLATE LXXI
Vase with ovoid body, short, straight neck, and wide
mouth ; the base formed by a saucer which has been dropped
in and secured by the glaze. Grey porcellanous ware with
sea-green celadon glaze. Carved ornament in horizontal
bands ; a broad belt of peony scroll in low relief, below which
is a band of stiff, pointed leaves ; on the shoulder, a band of
false gadroons with conventional foliage, and above it a foliage
scroll.
Ch'u Chou ware. 15th century. H. 12".
In the possession of Mr. George Eumorfopoulos.
PLATE LXXII
Bottle, with pear-shaped body, slender neck, and spreading
lip. Grey porcellanous ware with green celadon glaze and
splashes of lustrous brown. This spotted celadon is known
by the Japanese (who prize it greatly) as tobi seiji or " buck
wheat " celadon. The spots are formed by dabs of glaze
containing ferric oxide ; and the type was doubtless at first
the outcome of accidental spotting of the celadon glaze which
owes its colour to ferrous oxide.
Lung-ch'iian ware. Sung dynasty. H. 1075".
In the possession of Mr. George Eumorfopoulos.
PLATE LXXIII
Vase with ovoid body, tall, slender neck, and cup-shaped
mouth. On the shoulder are two small loop-handles and five
hexagonal tubes. These tubes do not communicate with the
interior of the vase and may possibly have served to hold joss
sticks. Greyish porcellanous stoneware with a delicate grey-
green glaze, frosted in parts with a dull yellowish deposit due
to decay during burial or occurring during the firing. The
sides are partitioned by ribs into five vertical panels, in each
of which is a stiff peony spray carved in low relief with etched
details ; and above are faintly etched scrolls. Base glazed over,
with a ring of sand -marks.
Northern Chinese celadon. Sung dynasty. H. 13- 7".
In the possession of Mr. O. C. Raphael.
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PLATE LXXIV
Ewer with barrel-shaped body, and slender neck with
flaring mouth ; plain spout and ribbed handle, with two
cloud-scroll ornaments projected from the shoulder. Grey
stoneware with light brownish celadon glaze and boldly
carved designs of foliage on the body and shoulder and stiff
leaves on the neck.
Northern Chinese celadon. Sung dynasty. H. 10".
In the possession of the Misses Alexander.
.
-
PLATE LXXV
Fig. i. Incense vase in the form of a duck (which serves as the
cover) on a lotus pedestal. Buff porcellanous ware with olive-
green glaze.
Northern Chinese celadon. Sung dynasty. H. 65".
In the possession of Mr. J. Baird.
Fig. 2. Shallow bowl with narrow foot-rim and mouth-rim
sharply curved outwards. Grey stoneware which has turned
dark brown where exposed to the fire. Brownish green celadon
glaze over a boldly carved design of peony flowers and foliage.
Northern Chinese celadon. Sung dynasty. D. 725".
In the possession of Mr. A. L. Hetherington.
V
PLATE LXXVI
Vase, bottle-shaped, with pear-shaped body, wide, straight
mouth, and spreading lip ; low, hollow foot. Buff-grey
stoneware with finely carved designs and olive-green celadon
glaze. The body is covered with a lotus scroll, and on the
neck is a band of stiff leaves between two bands of foliage
scroll.
Northern Chinese celadon. Sung dynasty. H. g- 25".
In the possession of Mr. George Eumorfopoulos.
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PLATE LXXVII
Fig. i. Vase with low globular body, wide neck, expanding at the
rim, which is shaped in six foliations each folded in the middle.
There are six ribs inside the neck. Buff porcellanous ware
with carved ornament under a brownish green celadon glaze,
lightly crackled. The design consists of six formal sprays of
foliage vertically disposed on the body, and stiff plantain
leaves on the neck.
Northern Chinese celadon. Sung dynasty. H. 4-75*.
In the possession of Mr. S. D. Winkworth.
Fig. 2. Box, circular, with slightly rounded top ; brownish
stoneware with finely carved designs under a brownish green
celadon glaze. On the cover are finely drawn peony scrolls
and a foliage scroll border ; borders of scalloped leaves on the
sides. The glaze under the base and inside is decidedly
brown, and recalls that found under the base of the numbered
Chun flower-pots.
Northern Chinese celadon. Sung dynasty. D. 69".
In the possession of Mr. P. David.
PLATE LXXVIII
Vase with ovoid body and short neck with spreading lip.
Buff- grey stoneware with coating of white slip, on which
floral designs are lightly incised and brushed over with black.
The whole is covered with a transparent cream-white glaze
giving a marble-like texture. On the sides is a bold lotus
scroll, and above and below are bands of oblique petal pattern.
This is a particularly fine example of Tz'u. Chou work
when it was at its best.
Tz'ii Chou ware. Sung dynasty. H. 12".
In the possession of the Misses Alexander.
.
PLATE LXXIX
Vase with slender ovoid body and small neck with spread-
ing lip. Greyish stoneware with coating of white slip through
which the design is carved so as to expose the body. An almost
transparent glaze, minutely crackled, covers the whole so that
the design in cream-white shows up against a mouse-coloured
ground. The ornament is in four belts : (i) a foliage band
on the neck ; (2) a broad belt of bold floral scroll next ;
(3) overlapping leaf design in a ground sprinkled with small
circles ; and (4) lowest, a band of oblique leaf pattern bordered
by small circles.
Tz'u Chou ware. Sung dynasty. H. 14- 6".
In the possession of Mr. C. Rutherston.
PLATE LXXX
Fig. i. Figure of rabbit seated on a flat octagonal base. Buff
stoneware with white slip dressing and a creamy white glaze ;
the eyes touched with black slip. A delightful model full of
life and humour.
TYu Chou ware. Sung dynasty. H. 4".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Vase with globular body, short neck with wide mouth,
and low base. Greyish stoneware with white slip coating and
transparent glaze of faintly creamy tone. On the sides is a
boldly carved foliage scroll, and on the shoulder a few wheel
rings.
Tz'u Chou ware. Sung dynasty. H. 55".
In the possession of Mr. George Eumorfopoulos.
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PLATE LXXXI
Vase of beaker shape with swelling body ; grey porcel-
lanous stoneware of Tz'u Chou type. Thick white, lustrous
glaze which does not extend on to the base, though a smear of
glaze appears underneath. The foot is hollowed out, and there
is a widish foot-rim. The handles of the vase are in the form
of lotus stalks, one bearing a leaf and the other a flower
and bud.
Tz'u Chou type. Ming dynasty. H. 12".
In the possession of Mr. F. N. Schiller.
PLATE LXXXII
Vase of slender ovoid form with slightly spreading foot,
short neck, and small mouth. Buff-grey stoneware with
coating of white slip and a colourless glaze of faintly yellowish
tinge. The designs, painted in black with details etched
through to the white, are arranged in horizontal bands. The
main belt is divided into two large panels of mirror shape
boldly painted with a phoenix in clouds ; formal ornament
between. On the shoulder is a curled scroll band between
triple borders of black ; and above the foot is a sketchy leaf
pattern similarly bordered.
Tz'u Chou ware. Sung dynasty. H. 14- 5".
In the possession of Mr. George Eumorfopoulos.
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PLATE LXXXIII
Vase of baluster form with high shoulders, short neck,
and small mouth. Reddish stoneware, as seen at the base,
which is unglazed, with coating of white slip and designs
finely painted in black under a soft transparent blue glaze.
On the body are two panels with figure subjects in garden
landscape. In one, three persons grouped round a table with
a musical instrument, representing Music, which is one of the
Four Liberal Accomplishments (see Plate CXVI). In the
other, Checkers is represented by two players seated at a
table ; another figure stands behind, and a fourth approaches
with a bundle of wood on his shoulder. This last is doubtless
Wang Chih, the Rip van Winkle of China, who watched a
game of chess played by Immortals in a mountain grotto.
One of the players, the story goes, gave him an object like a
date stone to put in his mouth, and he became oblivious to
hunger, thirst, and time. When advised at length to go home,
the handle of his woodman's axe had powdered into dust, and
on his return he found all his kith and kin long since dead.
On the shoulder, a band of floral scroll ; and stiff leaves
above the base.
Tz'u Chou type. 14th century. H. 10-25".
In the possession of Mr. George Eumorfopoulos.
PLATE LXXXIV
Vase of beaker form with slender ovoid body, terraced
foot, tall neck with wide mouth and folded foliate lip. Buff-
grey stoneware with coating of white slip and a creamy white
glaze. On the body is a lily design beautifully painted in
brown. Foliage sprays on the neck.
The foliate mouth throws back to the "mallow flower
vase " (see Plate XXI).
Tz'u Chou ware. Sung dynasty. H. 14- 75".
In the possession of Mr. George Eumorfopoulos.
PLATE LXXXV
Vase with ovoid body, short neck, and small mouth
slightly spreading at the lip. Buff- grey stoneware with coat-
ing of white slip and three groups of boldly painted designs
of a flower with fern-like foliage in black under a transparent
green glaze. The base is covered with white slip and trans-
parent colourless glaze. The green extends over the foot-rim
which bears the marks of five supports.
Tz'u Chou type. Sung dynasty. H. 12".
In the possession of Mr. George Eumorfopoulos.
PLATE LXXXVI
Bottle-shaped vase of buff-grey stoneware, with rich brown-
black glaze. On either side an impressionist sketch of a flying
bird has been painted in a brown glaze of a different com-
position from the main glaze.
Tz'u Chou ware. Sung dynasty. H. 10-5".
In the possession of Mr. J. Baird.
PLATE LXXXVII
Fig. i. Vase with globular body, tall, slender neck with wide
mouth-rim, and spreading foot. Buff ware with seven pairs
of slightly raised ribs on the body and a black glaze which
loses its colour on the raised edges, leaving them white.
Tz'u Chou type. Sung dynasty. H. 7-6".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Buddhist alms bowl of depressed globular form with wide
mouth. Greyish stoneware body ; unglazed base and pared
foot-rim. The body is washed over with white slip, through
which the design, a peony scroll, has been engraved ; the
whole has then been covered with a transparent glaze which
shows slight crackle.
Tz'u Chou ware. Ming dynasty. D. 45".
In the possession of Mr. F. N. Schiller.
PLATE LXXXVIII
Jar with ovoid body and short, narrow neck flanged below
the mouth. Buff- grey stoneware covered with white slip and
transparent glaze of slightly yellowish tone. The designs are
formed by the grafnato process. On the body is a broad band
with lotuses, plants, and birds, standing up in white against a
grey ground from which the slip has been cleaned ; the
incised outlines and details of the decoration are picked out
with a black slip painted on. Below this is a narrower band
with foliage scroll etched through the slip, and on the shoulders
are sketchy scrolls similarly produced. The base is unglazed.
Tz'u Chou ware. Yuan dynasty. H. 105".
In the possession of Mr. George Eumorfopoulos.
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PLATE LXXXIX
Jar with wide ovoid body, short straight neck, and small
mouth with two loop handles from the shoulder to the neck.
Buff- grey stoneware with coating of thick, lustrous black
glaze, and champleve designs, consisting of a broad band with
interlacing lotus scrolls, below which is a narrower band with
foliage scrolls. The ground of the pattern is scraped clean of
glaze, leaving the designs standing out in black against a
greyish biscuit. The base is glazed.
Tz'u Chou ware. Yuan dynasty. H. 14- 25".
In the possession of Mr. George Eumorfopoulos.
PLATE XC
Jar with ovoid body, short transversely corrugated neck,
and wide mouth ; two pairs of loop handles on the shoulder.
Buff stoneware with thick black glaze of great richness and
lustre. The glaze is thicker on the upper portion of the jar
and looks as if the jar had been glazed (before firing) on the
upper portion and then had been dipped in glaze to cover
the lower portion, the foot-rim being subsequently wiped
clean.
Tz'ii Chou ware. 15th century. H. 10".
In the possession of Mr. J. Baird.
PLATE XCI
Wine-jar, or potiche, with short neck and wide mouth.
Buff- grey stoneware with dressing of white slip and four leaf-
shaped panels framed in black and brown slips and painted
with figure subjects (ladies and children) in green and red
enamels. Formal borders above and below. Brown glaze
inside.
Tz'u Chou ware. Ming dynasty. H. 12".
In the possession of the Misses Alexander.
PLATE XCII
Bowl with rounded sides and low, narrow foot. Buff-grey
stoneware with wash of white slip and a transparent cream-
white glaze with a tendency to crackle. Outside, the glaze is
thin, and ends in an irregular line short of the base as is seen
in the side view of the bowl. Inside it forms with the under-
lying slip a fine cream-white surface on which a beautiful
design is painted in red, green, and yellow enamels. In the
centre is a mirror-shaped panel with spray of peony ; around
this is a band of red key-fret pattern between plain bands of
red and green. The designs are outlined in red.
A similarly painted bowl, bearing a date equivalent to 1203
a.d., was illustrated in the Kokka, November, 1921. The
enamels are of great interest on so early a specimen. The red
is a rich, tomato colour showing signs of iridescence ; the
green is a strong leaf-green and the yellow a rather muddy
and brownish colour ; both the last colours are frosted over to
a great extent by decay. The enamels have, as one would
expect, clear affinities with those used on Ming porcelain.
{ Tz'u Chou ware. Sung dynasty. D. 8-6".
In the possession of Mr. O. C. Raphael.
PLATE XCIII
Fig. i. Small bowl or cup of very thinly potted and highly trans-
lucent porcelain with pale bluish glaze. Finely carved inside
with two archaic dragons and waves. The mouth-rim is
unglazed and bound with gold ; the base is glazed and the
foot-rim is trimmed almost to a sharp edge. Where the glaze
has accumulated it shows a pronounced blue colour.
Ju type. Sung dynasty. D. 4- 2".
In the possession of Mr. A. L. Hetherington.
Fig. 2. Shallow conical bowl with sides lightly moulded and
mouth -rim cut in six foliations ; narrow foot with sharp -
edged rim. Porcelain of egg-shell thinness, and white glaze
with a faint tinge of blue, and slight crazing. Under the base
is a circular patch of unglazed biscuit which seems to be of a
granular texture ; it has burnt red-brown, and is fringed with
a ring of kiln-sand.
This dainty little egg-shell bowl is a masterpiece of potting.
Ju type. Sung dynasty. D. 5- 25".
In the possession of Mr. H. J. Oppenheim.
PLATE XCIV
Vase of ovoid form with small neck and narrow mouth
flanged below the lip. Porcelain with carved designs and a
pearly, bluish white (ying ch'ing) glaze. The design, a bold
peony scroll, stands up in low relief, the ground being cut
away and hatched with combed lines. The glaze stops short
of the base, and the biscuit below is burnt a reddish tone.
Ju type. Sung dynasty. H. 9- 75".
In the possession of Mr. George Eumorfopoulos.
PLATE XCV
Bowl with sides divided on the interior into six compart-
ments by slightly raised ribs. The porcelain, which is thinly
potted and highly translucent, is covered with a light blue glaze.
The bottom is engraved with two fishes in water, an emblem
of conjugal felicity. The mouth-rim is unglazed. The foot-
rim is low, and the base is covered with glaze. The bowl is
shown in two positions to indicate the shape as well as the
decoration.
Ju type. Sung dynasty. D. 72".
In the possession of Mr. A, L. Hetherington.
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PLATE XCVI
Vase with pear-shaped body, wide neck, and spreading
mouth, and four projecting ribs on the side and on the foot.
Fine white porcelain, following closely a bronze model in
form and ornament ; white glaze with faintly bluish tone,
which is more prominent where the glaze has run thickly.
Moulded designs. On the body a ground of key-fret or
" cloud and thunder " pattern (lei wen) over which are k'uei
dragons, interrupted by the ribs ; below this the body is
reeded. On the foot, similar designs. On the neck, stiff
leaves engraved with fret patterns, and below the lip a key-fret
border. The foot is hollow and glazed inside, and the raw
edge of the rim shows a fine white body.
The style of this exquisite vase recalls some of the illus-
trations in the famous album of Hsiang Yuan-p'ien.
Ju type. Sung dynasty. H. 575".
In the possession of Mr. George Eumorfopoulos.
PLATE XCVII
Ewer with ovoid body, narrow cylindrical neck, plain
spout, and handle formed of two strands of clay. On the
shoulder is a lightly carved foliage design. Highly trans-
lucent porcelain with bluish white (ying ch'ing) glaze, which
shows the blue colour only where the glaze is of some thick-
ness. There are five support marks on the foot-rim.
Ju type. Sung dynasty. H. 75".
In the possession of Mr. /. Baird.
PLATE XCVIII
Bowl of conical form v/ith rounded sides and pointed base ;
slightly contracted at the mouth, which is mounted with a
metal band. The flow of the glaze is from base to mouth, and
the point of the base, where the covering is thin, discloses a
body of light grey colour. The glaze inside and out is thick
and of a dark olive-brown colour, streaked with brown-black.
The form of this bowl is comparable with that illustrated on
Plate LXXXVII, Fig. 2.
Probably Honan ware. Sung dynasty. H. 7".
In the possession of Mr. George Eumorfopoulos.
PLATE XCIX
Fig. i. Vase with ovoid body shaped in six lobes, short neck and
wide mouth. Buff ware with deep smooth reddish brown
glaze, of the colour known to the Japanese as " kaki " ; glazed
base. At certain parts of the vessel the glaze shows a black
underneath, indicating that the brown effect is superficial and
caused by excess of ferric oxide coming out of the glaze on
cooling and being deposited on the surface.
Probably Honan ware. Sung dynasty. H. 3-75".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Shallow bowl with wide mouth, straight sides, and narrow
foot. Light buff ware with rich black glaze spotted with red-
brown. The glaze stops short of the foot, and has run thinly
at the mouth-rim. The red-brown spots have the appearance
of flecks of glaze of different composition spattered on to the
main glaze.
Honan ware. Sung dynasty. H. 75".
In the possession of Mr. George Eumorfopoulos.
PLATE C
Fig. i. Tea-bowl with gently curving sides and narrow foot.
Buff stoneware with thick brown glaze streaked with black.
The markings on the inside of this choice bowl roughly
resemble a chrysanthemum flower, and those outside are of
the tortoise-shell type.
Honan ware. Sung dynasty. D. y 12".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Bowl with wide mouth slightly contracted at the lip,
sloping sides, and narrow foot. Buff stoneware. On the
outside the glaze is red-brown with splashes of yellow, of grey
tone giving a tortoise-shell appearance. On the inside the
yellow splashing is more general, except in three places where
the red-brown predominates. These may be attempts at bird
designs, but the glaze has run and the detail of the deco-
ration cannot now be distinguished. There is, however,
some similarity of technique to that displayed in the bowls on
Plate CIII. The glaze stops short of the base without any
thick roll.
Honan ware. Sung dynasty. D. 6- 25".
In the possession of Mr. George Eumorfopoulos.
r . . , . . -
PLATE CI
Bottle with pear-shaped body and tall, slender neck with
flat, spreading mouth-rim. Buff ware with black glaze, and a
free design of ducks and lotus plants painted in white and
black slips.
This is a most unusual technique on Chinese wares, though
it is closely paralleled on some early Persian — so-called Gabri
— wares.
Probably Honan ware. Sung dynasty. H. 8- 75".
In the possession of Mr. George Eumorfopoulos.
PLATE CII
FiG. i. Tea-bowl with mouth lightly channelled on the exterior.
Buff stoneware with brown-black temmoku glaze, decorated
on the interior with geometric designs in greyish yellow.
Reported to have been made in Chi-an Fu in Kiangsi
(see p. 15.)
Sung dynasty. D. 4- 75".
In the possession of Mr. F. N. Schiller.
Fig. 2. Tea-bowl of conical form, the rim slightly compressed at
the mouth. Buff stoneware with black temmoku glaze reach-
ing the foot ; with a stencilled leaf design inside in greyish
yellow. Another specimen said to have been made in
Chi-an Fu.
Sung dynasty. D. 575".
In the possession of Mr. F. N. Schiller.
PLATE CIII
Fig. i. Tea-bowl of somewhat shallow nature. Buff stoneware
with dark brown temmoku glaze on the outside stopping
short of the foot-rim. Inside, the glaze is a flocculent grey
with a purplish tone, and in the glaze are drawn a series
of plum blossoms in brown-black which give a rosette
appearance.
This is one of the family of temmoku bowls referred to
on p. 15 of the introduction, and said to have been made at
Yung- ho Chen in the prefecture of Chi-an in the province of
Kiangsi.
Sung dynasty. D. 46".
In the possession of Mr. F. N. Schiller.
Fig. 2. Tea-bowl of conical form with mouth lightly channelled
on the exterior. Buff stoneware with black temmoku glaze
outside reaching practically to the base, and mottled with
yellowish grey markings, giving a tortoise-shell appearance.
Inside, the glaze is a flocculent grey with a bluish band near
the mouth ; lower down the glaze is grey, flecked with deep
yellow ; in this glaze designs are drawn in brown-black, viz.
a plum blossom on the bottom and two phoenixes and butter-
flies on the sides.
As in the case of Fig. 1 on this plate, the bowl is reported
to have been made in Chi-an Fu in Kiangsi.
Sung dynasty. D. 5".
In the possession of Mr. F. N. Schiller.
#
&% »:
PLATE CIV
Fig. i. Figure of an old man bearded and slightly bent, holding
a knotted staff in his right hand and peach in his left, and
standing on a circular cloud-scroll base. Buff-white stone-
ware with creamy white glaze minutely crazed. The ware is
of beautiful quality and finely modelled.
The subject is probably Tung-fang So, the " boy " who
stole the peaches from the Tree of Life in the garden of Hsi
Wang Mu and so obtained a fabulous longevity.
Ting type. Perhaps Ming dynasty. H. 10".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Group of the Ho ho erh hsien, Twin Genii of Union and
Harmony (Han-shan and Shih-te), seated and looking up
with laughing faces. Han-shan holds his " box of blessings."
Fine white Fukien porcelain, skilfully modelled, with ivory
white glaze.
Te-hua ware, i 17th century. H. 375".
In the possession of Mr. George Eumorfopoulos.
PLATE CV
Figure of Kuan Ti, God of War, standing on a rectangular
base — a dignified martial figure with helmet, and breastplate
appearing beneath his robes. There are holes on the lipsjand
chin for moustache and beard ; and there is a faintly incised
brocade design on parts of the robe. Fine white Fukien
porcelain with ivory white glaze.
For the story of Kuan Ti, see Plate CXXXI.
Te-hua ware. Late Ming. H. 135".
In the possession of Mr. George Eumorfopoulos.
PLATE CVI
Seated figure of Kuan Yin on a lotus throne. The figure
is crowned and draped in flowing robes opened at the bosom
and showing a jewelled necklace. White Fukien porcelain of
fine quality with cream-white glaze. On the back is an incised
inscription which is almost obliterated by abrasion of the
glaze.
Kuan Yin (one who hears cries) is commonly known as
the Goddess of Mercy, and receives more attention than any
other Buddhist object of worship in China. The resemblances
between Kuan Yin in the East and the Madonna in the West
are obvious, especially when, as Kuan Yin the Maternal, she
holds a child in her arms.
Te-hua ware, i 17th century. H. 7".
In the possession of Mr. George Eumorjopoulos.
PLATE CVII
Fig. i. Perfume bowl with sides delicately pierced in swastika
fret pattern interrupted by four panels with figures of the
Eight Immortals in pairs, modelled in full relief in unglazed
biscuit ; the panels are edged with threads of unglazed clay
and the borders are floral scrolls in white slip on a ground of
blue glaze. This elaborate pierced work was significantly
called kuei kung or devil's work.
About 1600. D. 38".
In the possession of Mr. P. David.
Fig. 2. Incense bowl with a pair of well-moulded lion handles.
Fine white Fukien porcelain with milk-white glaze. Mark
stamped in a rectangular panel, Ta Ming Ch'eng Hua nien
chih.
The bowl can hardly be as early as the 15 th century (as
the mark would indicate) ; but it is an exceptionally choice
specimen of the ware showing the simple beauty achieved by
the Fukien potters.
D. 6".
In the possession of Mr. P. David.
:
PLATE CVIII
Fig. i. Stem cup {pa pei), goblet-shaped ; fine white porcelain
with three fishes in brilliant red under the glaze. The stem
is hollow. Mark in blue inside the bowl enclosed by a double
ring, Ta Ming Hsiian Te nien chih, made in the Hsiian Te
period of the Great Ming dynasty (i.e. 1426-35 A.D.).
This period is famous for its underglaze red derived from
copper, and these stem cups with fish are specially mentioned
among the triumphs of the time.
H. 31".
In the possession of Mr. P. David.
Fig. 2. Dish, saucer shaped. Porcelain, with red glaze inside and
out, except for a narrow band at the mouth-rim and the hollow
of the base, which are white. Under the base is, faintly incised
within a double ring, the mark of the Hsiian Te period in six
characters (1426-35).
The red, derived from copper, has developed a brilliant
crimson on the sides, though it is rather duller in the middle.
It is the chi hung or sacrificial red for which the Hsiian Te
period was famous. Cf. Po wu yao Ian, " bowl, in colour red
as the sun, but with white mouth-rim." The paste is fine-
grained, and browned at the exposed edge. The white glaze
under the base is solid-looking and of bluish tone.
D. 8-3".
In the British Museum.
"
PLATE CIX
Pipe-shaped bottle with globular body, slender neck with
flange below the mouth, and mammiform spout. Fine-
grained porcelain with solid glaze, painted with designs in
red outline, filled in with brilliant turquoise -blue enamel, over
which there is gilt ornamentation now much worn. The
designs consist of mirror-shaped medallions, large and small,
and borders of ju-i pattern.
The paste where it appears in patches under the base is
burnt reddish, and the Hsiian Te mark in six characters is
written in under-glaze blue within a ring, as seen in the upper
illustration.
Bottles of this form were adapted as narghili bowls in
Persia and India after the introduction of tobacco smoking —
an event which took place in China in 1530 ; but several of
these bottles are of a date antecedent to the use of tobacco,
and their form suggests that they were originally feeding
bottles.
15th century. H. 75".
In the possession of Mr. T. H. Green.
-
PLATE CX
Vase with baluster body, tall, slender neck with spreading
mouth, and spreading base. Two handles on the neck issuing
from dragon heads. Porcelain with designs outlined in
threads of clay (cloisonne style) and washed in with coloured
glazes — turquoise, brownish yellow, and impure white in a
dark violet-blue ground. On the sides, lotus plants in waves,
and insects ; a petal border on the shoulder. On the neck a
band of stiff plantain leaves and a band of pendent jewels
with a ridge between. Scrolls on the base. The bottom is
splashed with green glaze, and shows in the unglazed parts a
reddish biscuit. A good example of san ts'ai or " three-
colour " ware, see p. 17.
15th century. H. 115".
In the possession of Mr. H. J. Oppenheim.
PLATE CXI
Wine jar with wide ovoid body, short contracted neck
with wide mouth, and slightly spreading base. On the sides
is a reticulated outer casing. Porcelain with designs carved in
openwork and washed in with coloured glazes — aubergine,
yellow, and white in a dull turquoise ground. On the sides
the Eight Immortals are paying court to Shou Lao, God of
Longevity (pa hsien ping shou), in the usual landscape setting.
On the shoulder is a band of peony scroll, and above the base
are false gadroons. On the neck are ju-i cloud-scrolls outlined
in threads of clay. Unglazed base.
15th century. H. 13- 75".
In the possession of Mr. George Eumorfopoulos.
-
PLATE CXII
High-shouldered baluster vase with small mouth (meip'ing).
Porcelain with designs lightly outlined in threads of clay and
coloured with yellow, white, and aubergine glazes in a deep
green ground. The main ornament represents a mountain
retreat with pine tree and mists ; on one side is a sage, and on
the other an attendant with a lute (chin). On the shoulders
are ju-i shaped lappets enclosing sprays of ling chih fungus ;
and above the base, a deep border of false gadroons. The
biscuit, where it appears on the partially glazed base, has
burnt a deep reddish brown.
15th century. H. 12".
In the possession of Mr. Anthony de Rotlischild.
-
PLATE CXIII
Vase of beaker shape with baluster body, high neck, and
spreading mouth, with two handles in the form of archaic
dragons. Porcelain, with mottled turquoise glaze on the body
and neck. On the shoulder, a collar painted with stiff gadroon
pattern in yellow, bordered with under-glaze blue. The
handles are coloured with yellow and green and under -glaze
blue. Plain borders edged with brown. Massive base.
15th century. H. 22- 5".
In the possession of Mr. R. H. Benson.
PLATE CXIV
Wine jar with wide ovoid body, short contracted neck, and
wide mouth, and slightly spreading base. Porcelain, with
designs outlined in threads of clay and covered with a white
glaze. On the body are two horsemen, umbrella bearers, and
attendants in the usual landscape setting. On the shoulder
are ju-i shaped lappets with lotus designs, and pendent jewels
between. On the neck are ju-i cloud scrolls, and above the
base false gadroons.
This type of vase, fairly often seen with coloured glazes, is
extremely rare in pure white. The porcelain seen on the
unglazed base is of fine texture but slightly browned ; the
glaze is solid and opaque and pin-holed in places,
15th century. H. 12- 5".
In the possession of Mr. George Eumorfopoulos.
PLATE CXV
Wine jar of potiche form with low neck and wide mouth.
Porcelain with designs outlined in threads of clay in cloisonne
style, and washed in with coloured glazes — aubergine, yellow,
dark violet, blue, and white — in a turquoise ground. Green
glaze inside. On the body, Shou Lao (God of Longevity), is
seated on a rocky throne with a scroll in his left hand, an
incense burner and his familiar, a deer, beside him ; a tortoise
in front, and a stork flying above are other attendant emblems
of longevity. The Eight Immortals approach to pay him
court, Li T'ieh-kuai and Ho Hsien Ku, appearing in front.
Below is a band of false gadroons, and above ju-i shaped
lappets enclosing the Eight Buddhist Emblems (pa chi hsiang),
of which the knot, the wheel, and the conch shell are seen in
the picture. Propitious cloud-scrolls on the neck.
15th century. H. 13".
In the possession of Messrs. G., R. and C. Benson.
PLATE CXVI
Vase of double gourd shape. Porcelain, with designs,
which are variously carved, reticulated, incised, and outlined
with threads of clay, washed in with coloured glazes — auber-
gine, pale yellow, and white — in a turquoise- blue ground. On
both bulbs the main ornament consists of figures in landscape
setting with pine trees, rocks, and clouds against an openwork
background. On the lower bulb two figures are approaching
a group engaged in Checkers, and on the upper are a sage and
attendant carrying a lute. The subsidiary designs are borders
of false gadroons at the mouth and above the base, and symbols
and propitious clouds (ju-i shaped) on the waist.
The designs evidently illustrate two of the Four Liberal
Accomplishments, viz. Music and Checkers. Possibly there
was a companion vase on which the other two — Literature
and Painting — were represented.
15th century. H. 14".
In the possession of Messrs. G., R. and C. Benson.
.
PLATE CXVII
Vase of baluster form with neck cut down. Porcelain of
massive structure with borders in underglaze blue and bold
design of lotus plants and egrets outlined in reddish brown
and washed in with enamel colours in a mottled turquoise
ground ; border of ju-i pattern on the neck.
Other vases of this form and structure are known, with the
Ch'eng Hua mark. None of those known in this country
appears to have survived without damage to the neck.
15th century. H. 16".
In the possession of Mr. T. H. Green.
PLATE CXVIII
A pair of figures, one representing Liu Han holding a
" cash " or coin, and a three-legged toad, the other Shih-te
with a brush and a ling chih fungus. Porcelain with coloured
glazes ; the robes and rocky bases are turquoise, and there is
a patch of aubergine at the back. The flesh parts, legs, and
attributes are in unglazed biscuit.
Both figures are Taoist Genii. Shih-te (Japanese, Jitoku)
is one of the Twin Genii of Union and Harmony {ho ho erh
hsieri) ; and Liu Han and his toad are denizens of the moon.
The ling chih fungus is one of the life-prolonging plants, and
appears frequently in decoration as a symbol of longevity as
will already have been observed.
16th century. H. 8".
In the possession of Mr. Anthony de Rothschild.
PLATE CXIX
Barrel-shaped seat with two lion-mask handles. Porcelain,
with designs incised and bordered with threads of clay, and
washed in with coloured glazes. On the sides, a broad belt
with design of lotus plants and egrets in a dark violet-blue
ground, between two broad bands of turquoise. The central
design is bordered with large studs. On the top, a formal lotus
blossom between four lotus leaves incised and glazed in
colours in a dark violet blue ground.
The Po wu yao Ian (a late Ming work) alludes to " beautiful
barrel-shaped seats . . . gorgeous as cloud-brocades " among
the specialities of the Hsiian Te period. Such things con-
tinued to be made throughout the Ming period.
About 1500. H. 13".
In the possession of Messrs. G., R. and C. Benson.
PLATE CXX
Wine vase with wide ovoid body ; short contracted neck
and wide mouth ; and slightly spreading base. Porcelain
with incised designs washed in with coloured glazes — auber-
gine, yellow, and white in a turquoise ground. On the body
is a bold lotus scroll ; on the shoulder, ju-i shaped lappets
enclosing lotus designs, with clouds between. On the neck
are propitious ju-i clouds ; and above the base, false gadroons.
Cheng Te period (1506-21). H. 1C75".
In the possession of Mr. George Eumorfopoulos.
PLATE CXXI
Figure of Shou Lao, God of Longevity, with elongated
forehead, seated on a deer and holding a scroll, with his
tortoise and stork before him. Finely modelled in porcelain
with coloured glazes — dark violet-blue, turquoise, and yellow ;
the flesh parts and some other details are in unglazed biscuit.
Rectangular pedestal with tiger heads in relief.
The deer, tortoise, and stork, all familiars of the God of
Longevity, are themselves regarded as emblems of long life.
About 1500. H. 104".
In the possession of Mr. Anthony de Rothschild.
PLATE CXXII
Figure of Wen ch'ang ti chiin, the principal God of Litera-
ture, seated in robes of state. Porcelain decorated with washes
of coloured glazes over incised designs. Portions of the
figure, including the flesh parts and the under robe, are in
unglazed biscuit with traces of a red pigment which has been
the medium for gilding. The over robe is richly brocaded
with five-clawed dragons, cloud designs, and wave borders
coloured green in a rich yellow ground, and there are touches
of aubergine on the beard, belt, and boots.
The octagonal stand is enamelled on the biscuit in green,
yellow, and aubergine with brown outlines, the ornament
consisting of bats and clouds in front and peony scrolls at the
corners ; the edges of the openwork are washed with yellow.
Wen Ch'ang, whose habitation is the Great Bear, is reputed
to have undergone many incarnations in the persons of dis-
tinguished literary men.
i 6th century. H. 30".
In the possession of Mr. Anthony de Rothschild.
PLATE CXXIII
Vase of double-gourd form. Porcelain with designs
outlined in threads of clay (cloisonne style), and washed in
with coloured glazes — aubergine, yellow, and white in a
turquoise ground. Green glaze inside the mouth. The main
designs are set in a mountain landscape with pine trees and
mists ; on the upper bulb are Shou Lao, God of Longevity,
with his deer, and Hsi Wang Mu, Queen Mother of the West ;
on the lower bulb are the Eight Taoist Immortals {pa hsieri).
At the waist are symbols bound with fillets and ju-i cloud-
scrolls (propitious clouds) ; and at the mouth and above the
base are borders of false gadroons. The base is unglazed.
About 1500. H. 1 8- 75".
In the possession of Mr. George Eumorfopoulos.
PLATE CXXIV
Vase with ovoid body, short contracted neck, and expanding
mouth ; low foot slightly spreading. The body is shaped in
twelve shallow lobes. Porcelain painted in under-glaze red
which has run and is slightly hazy. On the lobes are growing
plants, and above them ju-i shaped lappets enclosing formal
lotus flowers. On the shoulder, designs of similar kind, and
a border of ju-i pattern on the neck.
Cheng Te period (1506-21). H. 19".
In the possession of Mr. George Eumorfopoulos.
PLATE CXXV
Fish-bowl, tub-shaped, with rolled rim. Hard reddish
pottery with a lotus scroll design, modelled in low relief and
washed in with coloured glazes — aubergine and blue — upon a
green ground bordered above and below with broad belts of
peacock blue. Blue glaze inside.
These massive fish-bowls were frequently demanded by
the Imperial patrons of Ching-te Chen, and caused much
trouble in their successful production. Those made of porce-
lain were particularly difficult to fire without damage ; some-
times they were as large as 36 inches across and 24 inches
high.
1 6th century. D. 26- 5".
In the possession of Messrs. G., R. and C. Benson.
PLATE CXXVI
Fig. i. Pipe-shaped bottle with globular body, small neck,
and pointed spout. Fine porcelain painted in a soft under-
glaze red of rather pallid tone, with a finely drawn design of
lotus plants in flower, leaf, and bud ; formal border patterns.
The base is unglazed and discloses a fine-grained biscuit burnt
reddish brown.
The copper-red glaze shows incomplete mastery of the
firing technique, and indicates the extent to which the potters
had lost the art at this period. Though subsequently adapted
as narghili for smoking purposes, it appears that objects of
this shape were first used as ewers or even as feeding bottles.
Tobacco, however, was not introduced into China until 1530.
Cheng Te period (1506-22). H. 6".
In the possession of Mr. S. D. Winkworth.
Fig. 2. Shallow bowl with wide mouth and small foot. Porcelain
painted in enamels on the biscuit with a design of Buddhist
lions and brocade balls with streamers in green, aubergine,
and white in a yellow ground.
The Buddhist lion, or dog of Fo, is the guardian of temples
and of Buddhist divinities. He is commonly represented in
form and manner resembling a playful Pekingese spaniel,
sporting with a ball of silk brocade, which was originally the
sacred Buddhist jewel of the law.
Chia Ching period (1522-66). D. 7".
In the possession of Mr. George Eumorfopoulos.
PLATE CXXVII
Vase of baluster form with neck cut down and fitted with
a silver band. Buff-white porcellanous stoneware with chrys-
anthemum designs modelled in relief and washed over with
coloured glazes — turquoise and cloudy white — in a ground of
violet aubergine with patches of peacock blue.
16th century, H. 14".
In the possession of Messrs. G., R. and C. Benson.
PLATE CXXVIII
Fig. i. Tantalus-cup, bowl-shaped, with a figure inside. Porce-
lain painted in underglaze blue and red enamel. On the bowl
are clumps of lotus and chrysanthemum in blue and red ;
and symbols round the lip of the bowl inside. The figure has a
blue headdress and red coat. The quality of the porcelain
and the colours suggest an early 16th-century date.
Tantalus-cups, like the Western puzzle jug, could only be
used with safety by those who knew their secret. Otherwise
the liquid ran out of some unexpected hole to the discomfiture
of the user. The figure contains a tube shaped like an
inverted U of which one end communicates with a hole at the
foot of the figure inside the cup, and the other end leads
through the bottom of the cup. The cup can thus be filled
safely to the level of the top of the U bend of the tube. If
filled beyond that point the water runs out on the syphon
principle.
D.3-5".
In the possession of Mr. T. H. Green.
Fig. 2. Bowl with rounded sides and slightly convex bottom.
Porcelain painted in enamel colours. On the outside, a broad
band of tomato red broken by four medallions with figures,
two of which are seen in the illustration ; one holds a picture
scroll with prunus design, and the other is the Beggar Im-
mortal, Li T'ieh-kuai, with his iron crutch and gourd ; the
panels are edged with green, and there is a wave pattern below
and a key-fret on the base. This kind of bowl, with convex
centre (man hsiri), is typical of the Chia Ching period (1522-66).
The mark under the base reads fu kuei chia ch'i, i.e. fine vessel
for the rich and honourable.
D. 475".
In the possession of Mr. George Eumorfopoulos.
PLATE CXXIX
Vase of beaker shape with baluster body, straight, slender
neck with spreading mouth, and two handles modelled in the
form of conventional lily sprays. Buff- white porcellanous
stoneware with a formal lily design outlined in threads of
clay and washed in with turquoise and cloudy white glazes in
a ground of dark aubergine, finely dappled.
16th century. H. 18-5".
In the possession of Messrs. G., R. and C. Benson.
PLATE CXXX
Wine-jar of potiche form with short neck and wide mouth.
Porcelain decorated in underglaze blue, the background of
the design washed over with a beautiful tomato-red enamel.
The main subject represents the Eight Immortals paying court
to Shou Lao, God of Longevity, who is seated on a rock
throne with an incense burner before him and his familiar,
the crane. The scene is set in a rocky landscape with pine
tree and mists. On the shoulder are ju-i shaped lappets
enclosing lotus scrolls, and a narrow band of plain ju-i pattern ;
on the neck is a band of key-fret (cloud and thunder pattern) ;
and above the base a border of stiff leaves. The base is
unglazed and shows the massive construction of the vessel.
The glaze inside is thick, but uneven, and the paste seen at
the parting of the glaze has burnt a reddish colour.
Early 16th century. H. 13".
In the Victoria and Albert Museum.
J^tf£f£j£iGlC!fi4
PLATE CXXXI
Figure of Kuan-yu, with drapery over his armour, stand-
ing on a square base with four scroll feet. Buff pottery with
coloured glazes. The robes green and the scarf white, both
bordered with aubergine ; the armour yellow ; black on the
beard, boots, and headdress. The flesh parts are in unglazed
biscuit, on which there are traces of gilding. The stand is
glazed green and yellow.
Kuan-yu, a military hero of the Three Kingdoms (221-265
a.d.), was canonised in the 12th century, and eventually
elevated to the position of God of War in 1594, under the title
of Kuan Ti.
1 6th century. H. 31".
In the possession of Messrs. G., R. and C. Benson.
'
-■
PLATE CXXXII
Fig. i. Shallow wine cup with convex bottom. Fine porcelain
painted in enamel colours. Inside is a medallion with rock
and waves. Outside, two pairs of fishes in water- weeds
painted in turquoise -green, red, and yellow. Under the base
is the mark of the Chia Ching period in blue (1522-66).
The Po wu yao Ian (a late Ming work) makes a special
mention of shallow wine cups — with everted rim and
convex interior, decorated in colours with fish — as one of the
specialities of the Chia Ching period. A pattern of waves
punctuated by conical rocks (apparently in allusion to the
rocky islands of the Taoist Paradise) is a favourite border
design on Ming wares. It has been called the " rock of ages
pattern."
1 6th century. D. 3".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Saucer dish with everted rim. Porcelain with mottled
underglaze blue ground and reserved designs, of Imperial
five- clawed dragons pursuing pearls, outlined and shaded in
red and enamelled with yellow. In the centre is a full-face
dragon {mien lung), and on the sides within and without two
side-face dragons ; there are clouds and flames in the spaces.
The designs have a double outline, one in blue under the
glaze, and the other in red over the glaze. White glaze under
the base, and mark of the Wan Li period in blue in six
characters within a double ring.
Late 16th century. D. 5".
In the possession of Mr. H. J. Oppenheim.
PLATE CXXXIII
Wine-jar of potiche form with low neck and wide mouth.
Porcelain with deep blue glaze on the exterior, painted in white
slip. A lotus scroll on the sides with a border of false gadroons
below, enclosing stiff flowers and cash symbols. On the
shoulders, a band of ju-i shaped lappets, enclosing lotus and
ling chih fungus sprays ; cloud scrolls on the neck.
16th century. H. 125".
In the possession of Messrs. G., R. and C. Benson.
PLATE CXXXIV
Ewer (hu p'ing) with flattened pear-shaped body, tall
slender neck with spreading mouth, low foot, long handle
with eyelet for attaching the lid, and long spout braced to the
neck with a palm scroll ; silver lid. Porcelain enamelled with
turquoise-green, leaf green, and tomato red. On the back
and front is a heart-shaped panel lightly moulded in relief,
and painted with a Buddhist lion sporting with a ball of brocade;
on the sides, a red plum-blossom diaper interrupted by four
quatrefoil panels of flowers and four ju-i ornaments. Similar
panels on the neck, with pendent jewels and a border of stiff
plantain leaves ; symbols on the foot, spout, and handle.
The turquoise- green, which is a feature of this piece, is an
enamel peculiar to Ming porcelains. It was replaced in the
next dynasty by a violet-blue enamel.
Chia Ching period. H. a/25".
In the possession of Mr. H. J. Oppenheim.
PLATE CXXXV
Fig. i. Stem-cup {pa pei), bowl-shaped, with everted rim and
straight narrow shank. Porcelain enamelled in tomato red,
green, aubergine, and yellow. Inside, a medallion with
petal border, enclosing a figure of Lu Tung-pin (one of the
Eight Immortals) in clouds, with branches of pine, bamboo,
and prunus (emblems of longevity) in the spaces ; red wave
border at the lip. Outside, four groups of the Eight Im-
mortals in pairs floating on clouds ; stiff leaves and key-fret
border on the stem.
Chia Ching period (1522-1566). H. 46".
In the possession of Mr. H. J. Oppenheim.
Fig. 2. Box of oblong, rectangular form with rounded corners.
Porcelain enamelled on the biscuit with yellow, aubergine,
and greenish white in a deep green ground. On the top of
the lid are four fantastic animals charging over green water,
which is represented by spiral waves strewn with white plum
blossoms and coloured symbols ; on the sides, a groove and
border of green matting pattern. The sides of the box are
decorated to match with green matting border and symbols
and plum blossoms on green waves. Base unglazed ; the
interior smeared with a thin greenish white.
The symbols belong to the group known as the pa chi
hsiang — the Eight Buddhist Emblems which comprise the
wheel, shell trumpet, state umbrella, canopy, lotus flower,
vase, pair of fish, and the angular knot.
The " wave and plum-blossom pattern " is named in the
lists of porcelain supplied to the Imperial Palace in the 16th
century, but it is a pattern which retained its popularity for
long after the Ming period.
Wan Li period (1573-1619). L. 69".
In the possession of Mr. H. J. Oppenheim.
PLATE CXXXVI
Dish, of saucer-shape. Porcelain of fine grain with etched
designs under a rich blue glaze. Inside is a large medallion
with phoenix and crane in scrolls of peony and lotus. Outside,
two phcenixes and two cranes in similar scroll work.
The blue glaze appears to be strewn with minute points
as though the grains of colour were not entirely dissolved.
The same kind of effect, but in a more obvious fashion, is
produced by the " powder blue " of the K'ang Hsi period.
The finely traced designs under the glaze are a variety of the
an hua or secret decoration. The phoenix, emblem of the
Empress, is usually represented as flying through peony
scrolls or " fairy flowers " ; the crane, emblem of longevity,
is usually associated with the lotus. Here the two birds and
• their special flowers are combined.
Incised mark of the Chia Ching period. D. 15".
In the Victoria and Albert Museum.
PLATE CXXXVII
Fig. i. Box of rectangular form with indented angles. Porcelain
painted in iron red. On the top of the cover, a phoenix and a
stork in clouds, and two medallions of pa kua emblems ; on
the sides of the box and cover, a running ling chih fungus scroll
and a formal scroll border. Mark in dark Mohammedan blue,
Ta Ming Chia Ching nien chih, made in the Chia Ching period
of the great Ming dynasty (1522-1566).
The pa kua or Eight Trigrams are supposed to explain the
phenomena of nature, and to have been revealed to the
Emperor Fu Hsi (2852-2738 B.C.) by a dragon horse in the
Yellow River. The trigrams consist of triple combinations
of long and short lines. They are sometimes used to denote
the points of the compass, and have been extensively employed
for ages in systems of divination.
L. 5-6".
In the possession of Mr. H. J. Oppenheim.
Fig. 2. Saucer-dish of fine porcelain with designs outlined in
brown on the biscuit and washed in with aubergine and white
glazes in a yolk-of-egg yellow ground. In the centre, two five-
clawed Imperial dragons in flames disputing a pearl. On the
sides four ling- chih fungus designs. Outside, a band of
running foliage scroll.
Mark, in a double ring, Ta Ming Wan Li nien chih, made
in the Wan Li period of the great Ming dynasty (1573-1619).
D. 62".
In the possession of Mr. H. B. Harris.
PLATE CXXXVIII
Fig. i . Wine cup of ju-i shape, with moulded base ; the handle
is in the form of a ju-i sceptre. Porcelain with yellow glaze
outside and white within.
The ju-i (as you wish) sceptre is supposed to bring about
the fulfilment of wishes. Its head is usually in the shape of a
ling-chih fungus, which is itself an emblem of long life. So
that there is double reason why this propitious form should
have been so popular with the Chinese craftsman. Two
positions are illustrated to show the form of the cup.
1 6th century. H. 14".
In the possession of The Honble. Mrs. Walter Levy.
Fig. 2. Bowl with curved sides and everted rim. Porcelain painted
in enamel colours on the biscuit. Inside is Shou Lao, God of
Longevity, and his stork ; border of wave and plum-blossom
pattern. Outside are the Eight Immortals crossing the sea on
their way to the Taoist Paradise. The designs are in green,
aubergine, and white in a yellow ground.
The figures in view are Lu Tung-pin with his sword slung
on his back ; Li T'ieh-kuai with crutch and gourd from which
magic exhalation is rising ; and the portly Chung-li Ch'iian
with bare abdomen.
Mark of the Chia Ching period (1522-66). D. 775".
In the possession of Mr. George Eumorfopoulos.
PLATE CXXXIX
Fig. i. Incense box of fine porcelain with coloured glazes. The
sides of the box are moulded to suggest a knotted tree-trunk ;
glazed yellow, the knots picked out with aubergine. The
cover is in the form of a life -prolonging ling-chih fungus
glazed aubergine purple.
L. 25".
In the possession of Mr. F. N. Schiller.
Fig. 2. Tripod incense-burner of similar ware, the sides moulded
in a similar design and glazed yellow with the knots picked
out with aubergine.
Parts of a dainty set of furniture for the writing-table, this
and the box above are exquisitely finished objects, real gems
of the potter's art. Pieces like these help us to realise the
true character of the small Ming specimens illustrated in the
16th-century Chinese album of Hsiang Yiian-p'ien.
H. (without handles) 3".
In the possession of Mr. H. J. Oppenheim.
',
*
PLATE CXL
Vase of rouleau form with cylindrical body and neck and
slightly expanded mouth. Porcelain carved on the body with
a beautiful peony scroll in low relief, beneath a dark aubergine
violet glaze which varies in depth. On the neck are incised
bands of stiff leaves and spirals ; and on the lip is a key-fret
or " cloud and thunder " pattern (lei wen).
Late Ming. H. 23".
In the possession of Messrs. G., R. and C. Benson.
■
PLATE CXLI
Vase of bronze form with flattened pear-shaped body,
high neck, slightly expanding at the mouth, spreading foot,
and two elephant handles ; the lip and the base-rim are of
quatrefoil outline. Fine white porcelain with thick glaze of
faintly greenish tint and dull lustre. Painted in underglaze
blue of two tones, a light blue shaded with dark. On the front
and back are two moulded leaf-shaped panels with rocks and
symbolic plants and clouds ; in one, an ancient pine and in
the other a peach and ling chih fungus — all emblems of
longevity. Above and beside the panels are ju-i cloud scrolls
(" propitious clouds ") ; on the neck are stiff plantain leaves
and on the stem false gadroons. The base is hollow and
glazed inside, and there is grit on the raw edge of the foot-rim.
15th century. H. 85".
In the possession of Mr. Charles Russell.
PLATE CXLII
Vase of cylindrical form with slightly contracted neck
spreading at the mouth ; unglazed base, nearly flat. Porcelain
pencilled in a delicate shade of blue under the glaze. On the
body, a court scene with a military chief receiving two civil
dignitaries ; an array of banners and pikes in the foreground.
On the neck, a floral scroll with large chrysanthemum-like
blossoms. The pencilled decoration is in an early style, asso-
ciated with the 15th century.
H. 16".
In the possession of Mr. George Eumorfopoulos.
PLATE CXLIII
Bowl with everted rim ; porcelain finely painted in dark
blue under the glaze. Inside is a garden landscape with fence,
pictured screen, and a candle set on a tall stand, and two
figures of dignitaries in conversation. Outside, as will be
seen in the second illustration, is a garden with season flowers
and an owl swooping down on a rabbit. Under the base is
the mark of the Ch'eng Hua period (1465-87).
D. 85".
In the possession of Mr. George Eumorfopoulos.
PLATE CXLIV
Flower vase with wide baluster body, slightly spreading
base, and small neck with expanding mouth. Porcelain of
massive structure with finely painted lotus scroll in dark
underglaze blue ; ju-i border on the shoulder and stiff leaves
on the neck.
15th century. H. 165".
In the possession of Mr. T. H. Green.
PLATE CXLV
Wine jar with wide ovoid body, short, straight neck and
wide mouth ; unglazed base, almost flat. Porcelain painted in
dark and light shades of blue under the glaze. On the body,
a mountain landscape with trees, shrubs, and a pavilion half
hidden in mist, in which a man and two boy attendants are
watching the approach of mounted visitors with their atten-
dants on foot. Band of stork and cloud pattern on the shoulder
and a band of crested waves above the base ; trellis pattern on
the neck.
About 1500. H. 135".
In the possession of Mr. George Eumorfopoulos.
PLATE CXLVI
Fig. i. Box of six-foil form. Porcelain with glaze of slightly
greyish cast, painted in underglaze blue of two tones, a light
blue shaded with dark. On the top of the cover is a figure of
the Immortal Ho Hsien Ku, the patroness of housewives,
with her ladle, and a bamboo and ling chih fungus and clouds ;
on the sides are three emblems repeated — a pair of scrolls, a
ling chih fungus and a pearl in flames — and a scroll border.
On the sides of the box, floral designs, and false gadroons.
The base is unglazed, and the glaze inside is washed on
thin and has browned in places. The blue on the sides is hazy
in outline, but clearer in the panel on the cover which is
skilfully drawn.
15th century. D. 44".
In the possession of Mr. H. J. Oppenheim.
Fig. 2. Octagonal box with rounded cover. Porcelain painted in
underglaze blue of good quality. On the top of the box a
garden landscape and two pheasants or phoenixes on a rock
receiving court from numerous small birds. On the side
facets are flowering plants and scrolls. The subject is appar-
ently a version of the " Hundred Birds paying court to the
Phcenix." Under the base is the mark of the Chia Ching
period (1522-66).
D. 11 5".
In the possession of Mr. George Eumorfopoulos.
PLATE CXLVII
Jar of potiche form with broad ovoid body, short neck,
and wide mouth. Porcelain of fine grain with solid white glaze,
painted in underglaze blue in two tones, a light tone shaded
with dark. On the body are rocks, bamboos, palms, and
mu-tan peonies in flower and bud, and a peacock and hen ;
on the neck is a wave border. Base unglazed.
The design kung chiao mu tan hua (peacocks and peonies)
is named in the lists of blue and white porcelain supplied to
the Imperial Palace in the 16th century. It is also familiar
on the " three-colour " vases of earlier date.
About 1500. H. 11-75".
In the possession of Mr. Charles Russell.
PLATE CXLVIII
Wine -jar, or potiche ; porcelain painted in the dark
Mohammedan blue of the Chia Ching period with a con-
tinuous garden landscape with children at lessons and at play.
The foot-rim shows a slightly red discoloration ; and the
base, which is glazed, is marked in blue with the nien hao of
Chia Ching in six characters.
Though time has been unkind to the upper part of this
vase it remains a splendid example of Chia Ching blue and
white.
H. ii 75".
In the possession of Mr. S. D. Winkworth.
PLATE CXLIX
Fig. i. Cup in the shape of a large lotus leaf with handle and
supports beneath in the form of stalks, buds, and smaller leaves
of the plant. Porcelain with details in underglaze blue and
green enamel. The blue on the exterior of the leaf is mottled,
and the stalks are a dark leaf green. Below the lip in front is
the mark of the Hsuan Te period (1426-35) in six characters.
15th century. L. 575".
In the possession of Mr. George Eumorfopoulos.
Fig. 2. Wine-pot in the form of a peach with branches forming
the handle and spout, and a filler on the top shaped like a
many-petalled flower. Porcelain painted in underglaze blue
with pomegranate designs with fruit and flowers.
The peach, pomegranate, and finger citron are three fruits
which symbolise the Three Abundances of years, children
and happiness.
The peach-shaped wine-pot occurs in Chinese porcelain
of all periods. It is usual in the later specimens to find the
hole for filling under the base, and this form was adapted in
the well-known Rockingham teapots.
1 6th century. H. 7".
In the possession of Mr. T. H. Green.
PLATE CL
Dish with narrow flat rim. Porcelain with designs in
underglaze blue strongly outlined and washed in with paler
shades. In the centre is a medallion with a square enclosing
a lozenge in which is a passage of Arabic writing enclosed by
a ring and four ju-i ornaments ; in the spaces are arabesque
foliage scrolls. On the border are foliage scrolls interrupted
by four cartouches of Arabic writing. Similar ornament on
the back and the mark of the Cheng Te period (1506-21).
A number of Cheng Te specimens are known with Arabic
inscriptions ; such pieces were doubtless made for the
Mohammedan market, in China or abroad. Apparently this
dish was used for the ceremonial washing of the hands before
prayer. The inscription in the centre reads Tahdrat (purifica-
tion).
The writing is Persian in character and points to the dish
being made to order for the Persian market.
D. 16 5".
In the possession of Mr. George Eumorfopoulos.
PLATE CLI
Vase with high-shouldered, baluster body, and tall, slender
neck with flaring mouth and edge of quatrefoil shape ; the
base is terraced and slightly spreading. On the neck are two
crinkled loop handles to which are attached two rings. Porce-
lain with solid white glaze, painted in underglaze blue with
belts of ornament. On the body, a broad band of lotus scrolls,
stiff plantain leaves, foliage scroll, and formal patterns. Ju-i
head pattern on the shoulder. On the neck, a fungus scroll,
a foliage scroll, stiff floral ornaments, key-fret, and a cartouche
inscribed Cheng Te nien chih, made in the Cheng Te period
(1506-21). The base is flat and unglazed and discloses a
fine-grained biscuit which has slightly browned.
H. 179".
In the possession of Mr. H. J. Oppenheim.
•^4
' ** " ?W|
PLATE CLII
Dish with slightly everted rim. Fine porcelain with well-
painted design in a fine greyish blue. In the centre a land-
scape scene with a martial figure brandishing a pike and two
small figures who may be demons. A gourd-vine scroll forms
the border. Outside are lotus sprays supporting the Eight
Buddhist Emblems {pa chi hsiang). Mark in a double ring,
Ta Ming Wan Li nien chih, made in the Wan Li period of the
great Ming dynasty (i 573-1619).
The subject appears to be a representation of Chung
Ku'ei, the demon -queller, who corresponds in many ways to
the more familiar Shoki of Japanese legend.
Late 1 6th century. D. n-8".
In the possession of Mr. H. B. Harris.
>
6094
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